1 15 135 https://omeka.wilkes.edu/omeka/files/original/91811e209db031a26cd332ec8e7254d6.pdf 2eef465995716b29b5ea6ff19857b9aa PDF Text Text ������������������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2006 October 28 Beyond Recognition: The Art of Alan Magee Creator An entity primarily responsible for making the resource Alan Magee Ronald R. Bernier Ph.D. Date A point or period of time associated with an event in the lifecycle of the resource 2006 October 28 - December 10 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Using fantastical realism as a medium for conversation, Alan Magee's work is representative of both the every day and the magic behind it. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Realism hyperrealism magical realism Alan Magee painter paintings Source A related resource from which the described resource is derived Forum Gallery https://omeka.wilkes.edu/omeka/files/original/60a009e22eec742778babacfc6467624.pdf d1bf76747ed2d99af595b1e7a588b19e PDF Text Text �y-lncly 'Wa’ikol 15 MINUTES: FROM IM/ TO BOON Curated by Heather Sincavage October 6 - December 20, 2017 Acknowledgements and Essay by Heather Sincavage Sordoni Art Gallery at Wilkes University Wilkes-Barre, Pennsylvania Fsordoni ART GALLERY WILKES UNIVERSITY = photography by Steve Husted �H 19 Id SI 16 ie IB IV 10 >V m =v )0 JQ >J<d n6 Bl} PV UQ inj ’j a !Md JOO !M± sue aul ■njq ism am 1OJS BJ.0 ) JO} JELL! !4M 9H IV �ACKNOWLEDGEMENTS Heather Sincavage, Director When considering what exhibition would open the new Sordoni Art Gallery, many considerations were made. How will we honor the legacy the gallery has had to Wilkes University, build on our standard for excellence, and create excitement for what is come? Many of us on campus threw around ideas of artists or themes that might capture that, but we often returned to Pennsylvania's biggest success story, Andy Warhol. The Pittsburgh native ushered in the new wave within the art world. He brought about change in a way that required the world to make new considerations of how art is defined, how culture is evaluated and blurred the line where the commercial world meets the fine art world. This harbinger of change seemed the appropriate artist to launch the new space—as the Sordoni Art Gallery ushers in a new era for the arts in Wilkes Barre. This exhibition "15 Minutes: From Image to Icon" would not have been possible without generous contributors. Thank you, Hyrum Benson at the Reed Gallery, University of Maine at Presque Isle; Phil'Earenfight at Trout Gallery, Dickinson College; Darrell George at University of Northern Iowa; Greg Gorman; Geralyn Huxley at The Andy Warhol Museum; Henry Leutwyler; Bill Miller at Galison Publishing; Jamie Smith at Social Fabric Collective; Ryan Ward at The Maslow Collection at Marywood University; and Willie Williams at Haverford College. Additionally, the incredible support from the newly re-formed Sordoni Art Gallery Advisory Commission has been invaluable. I would like to recognize the members here, as I have greatly appreciated their guidance and support. The members are: Virginia Davis, chairperson; Dr. Stanley Grand; Patricia Lacy; President Patrick F. Leahy; Ken Marquis; Allison Maslow; Bill Miller, board of trustees vice chairperson; I ' Dr. Paul Riggs, dean of the College of Arts, Humanities and Social Sciences; Eric Ruggiero, chairperson of the Integrative Media, Art and Design Department; Provost Anne Skleder; Jamie Smith; Andrew Sordoni III; and Joel Zitofsky. As the gallery prepared to open, many people across campus assisted in imagining the success of the new space and opening exhibition events. Thank you, Jean Adams, Bridget Giunta, Lisa Reynolds, Mildred Urban, Rebecca Van Jura, and Mike Wood. Your creativity and advice are so appreciated. Additionally, the tireless efforts of Charlie Cary and the Office of Campus Support Services have been outstanding in realizing the imagination of many people and cannot go unrecognized. Although I have already acknowledged Dr. Riggs as part of the Advisory Commission, his assistance and support of the gallery and me have far exceeded the role of commission member or dean. I am very appreciative of his ingenuity and guidance. Without him, I would not have received one of the greatest gifts to this exhibition project, research assistant Karly Stasko. A large part of this exhibition's success is a result of Karly's enthusiasm and talent. Finally, I would like to thank my family and partner, Adriano, for their support during this substantial endeavor. You help me realize that anything is possible. Here's to a new chapter in Wilkes University history and exciting things to come! 1 �MAKING of an icon by Heather Sincavage, Curator mded to the status of icon quite like No artist has ascei Andy Warhol. In 1965 curator Sam Green of the ICA at the University of Pennsylvania held Warhols first retrospective. When over 2 000 people showed up, Green was forced to remove the artwork from the walls fearing mob damage. When Warhol and his muse Edie Sedgwick arrived, the crowd chanted, "Andy and Edie! Andy and Edie!" It was clear that while his artwork helped to establish a movement, the artist himself had become an icon. andrew warhola no one could have predicted that the Pittsburgh-born child of Considering his modest upbringing, ^become the sensation of the art world. Regardless, young Warhol was Czech immigrants woi led in his artistic endeavors by his mother, Julia. According to Warhol, she had consistently encouragi been the single most influential person in his career. Dating back to childhood, Warhol was a long admirer of Hollywood starlets. Throughout his entire life and encouraged by Julia, he collected publicity shots, biographies and teen magazines about young Hollywood, saving images of Liz Taylor, Natalie Wood, Troy Donahue and Warren Beatty. While he was too poor to afford new magazines, local second-hand shops offered a dusty treasure trove. He was a young boy in love with the American dream, and Hollywood stood as the shiny new epitome of that dream. With a passion for drawing fueled by his mother, he was selected to attend free classes at the Carnegie Institute of Technology while he was still in elementary school. Warhol had always been considered an original. His high school yearbook epithet reads "as genuine as a fingerprint" (Schaffner, 26). When he graduated high school, a year early in fact, Warhol was accented into the very same institute. s college career was full of contradiction. At the Carnegie Institute, he nearly failed out of school nonZntSSI|n9C 3 T56 °n PerSPeCtiVe' alth0U9h his studi0 entice later proved that to be a likely to succeed Pr°fessors was equally conflicting. "One instructor deems him least ' er Ca"S his work the most promising commodity he has ever seen" (Schaffner 26). Although unbearably shy, W; ' ' arhol enjoyed working in groups and even established a studio ^ college classmates in a carriage ho. -Juse-One might consider this a prototype of The Factory, Warhols infamous studio. Warhol was believed to have had th commercial artist, most notabl Careers in his From 1949 to 1960. he worked as a Art Director's Club awards From 1Oo^°e '"Ustrator at Glamour magazine, where he won numerous artlst' Final|y- from 1968 to 1987 i mmercial world and combined it hG hfestV|a °t0 1968' he was pop artist- breaking into the world of the fine ■ ^USiness art'st, wherein he took his experience from the Wlth what established his reputation-the art. the persona ano ««xxE8stemE” .. lca"D'Mm'°Xtdda,. j American .9rants‘ Andrew Warhola had great love for pop culture a.- Andy Warhol, he became one of the icons to use the 16 a aaw generation of culture. �WARHOL AND THE AMERICAN DREAM status of icon quite like Warhol crossed into the art world during the height of Abstract Expressionism. The movement, made famous by Jackson Pollock and Mark Rothko, embraced paint drips, smudges and runs as a the ICA at the University of means of emotional expression. From this, action painting emerged, spotlighting the artistic process as an intrinsic part of the art. Pop art, on the other hand, was still in its infancy. The term was first >t retrospective. When over used in 1958 by British critic Lawrence Alloway to distinguish American mass-media popular in was forced to remove the culture from the more conservative British lifestyle. The word "Pop" actually appeared in a collage mob damage. When Warhol by British artist Eduardo Paolozzi entitled "I Am A Rich Man's Plaything" and resourced from a rrived, the crowd chanted, magazine collection of an American Gl. Roy Lichtenstein's "The Kiss" became one the first pieces to fully validate the movement by appearing in ART News magazine. Fellow artist Claus Oldenburg I!" worked in his Lower East Side studio, modeled after a department store, which he entitled The Store. When Warhol visited The Store in 1961, he left it feeling "depressed,’’ In the same year, Warhol ork helped to establish a had his first exhibition in the Bonwit Teller luxury department store window (the site that now ad become an icon. houses Trump Tower), resulting in a modest success. Pop art was emerging at the same time as the radical Fluxus Movement, which presented musician John Cage at its forefront. The Fluxus agenda united through the intersection between art and life, the Pittsburgh-born child of ardless, young Warhol was while further reflecting Taoist and Buddhist philosophies. In 1967, Warhol would collaborate with Fluxus founder George Maciunas on a complete issue of Film Culture magazine. According to Warhol, she had Rebelling against non-objective imagery that was laden with the artist’s mark and recognizing interdisciplinary approaches to studio process, Warhol's method was born. arlets. Throughout his entire and teen magazines about "What’s great about this country is that America started the tradition ahue and Warren Beatty. where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know iops offered a dusty treasure the President drinks Coke, Liz Taylor drinks Coke, and just think, you wood stood as the shiny new can drink Coke too." - Andy Warhol (Bernstein, 16) With a marked interest in Americana, Warhol began experimenting tend free classes at the with the Coca Cola bottle. He approached the icon two ways: one )l. Warhol had always with apparent brush strokes and drips, much like the artists of Abstract Expressionism and one 5 genuine as a fingerprint clean, flat and crisp. This was where a decision had to be made. This decision would come to define io! was accepted into the the icon. Warhol opted for the clean aesthetic. Eliminating the "artist's hand" reflected the style of which the consumer already experiences the product, but later Warhol would determine that embracing the industrial process of serigraphy, more commonly known as screenprinting, to be the e nearly failed out of school most efficient and impactful way to create the Warhol aesthetic. er proved that to be a istructor deems him least It's no secret the artist relied on others for ideas. In an interview in 1970, Warhol's assistant, Gerard ' he has ever seen" (Schaffner, Or sometimes I don’t use it right away, but may remember it and use it for something later on. I love an established a studio orototype of The Factory, Malanga, quoted the artist, "I always get my ideas from people. Sometimes I don’t change the idea. ideas" (Danto, 32). While he began to be noticed by several art dealers, Warhol did not have gallery representation. He felt pressured to create something with impact. His breakthrough, Campbell's Soup Cans, emerged from a discussion with interior designer Muriel Latow, who encouraged Warhol to paint something I to 1960, he worked as a e, where he won numerous ng into the world of the fine his experience from the —the art, the persona and that "everyone sees every day, that everyone recognizes ... like a can of soup" (Danto, 33). This was not an exceptionally strange concept, as depictions of food have a long tradition in painting. Popular in Greek and Roman culture, painting food was at its height during the Renaissance. Using hand cut stencils, Warhol painted all 32 varieties of the Campbell's brand at that time for his first exhibition at the Ferus Gallery in Los Angeles in 1962. Warhol sold out the show for $1,000. reat love for pop CLJ Iture aS 3 of the icons to use the �dlery placed real Campbell's soup cans in its window, In an act of self-important satire, a neighboring gal Warhol would go on to create works of ot advertising that they were five for one dollar. Hollywood and pop culture stars such as While in its initial instaUation, the can paintings sat in a line propped on a she . Th,s was a reference to the can's humble factory beginnings, as well as a nod to the paintings' own manufactured existence. Later Warhol Natalie Wood, Grace Kelly, Jackie Kenner Taylor (which preceded Marilyn). His proi would hang the images organized into a grid on the wall. "Not found in nature-grids mean 'this image is a practice meant he had numerous series i product of culture"' (Schaffner, 65). Utilizing the serial image, the artist implemented a grid composition of the the same time. works to reference endless mechanical reproduction. Investigating deeper into American culti Warhol would return to the soup can over and over throughout his career. While this may be the case for same time as the Marilyns, Warhol often many of his iconic subjects, the soup can series established significant attributes to the Warhol style. The vision of the American Dream: Death ant serial image and flat application of paint reflected a clean, industrial-made aesthetic. Later, Warhol used his Focusing on car accidents, Warhol depir commercial experience to expedite his productivity. He no longer cut stencils to make his work but instead newspaper photos of accident aftermat screen printed directly onto canvas. He would later return to create the Campbell's Soup Cans screen prints in limited editions of 250. During the making of his Brillo Box (1964) pieces, the studio was arranged in assembly line fashion where Warhol and his assistants could create the work. Thus, Warhol's studio became known as long symbol of American status and ind was transformed into a symbol of our rr later would take on the electric chair, su race riots. Perhaps this is response to ti The Factory. temperature of the time, perhaps it was One might question why Warhol found Campbell's Soup appealing. Of course, it was a suggestion from Latow; but one can also be certain that Warhol would have had many suggestions for subject matter. Considering Warhol's childhood in a depressed neighborhood, visiting the supermarket was an indulgence as much as a necessity. Inside the supermarket, the American Dream was stacked up on shelves, awaiting purchase for those who could. The "universal sameness" came to represent belonging to a certain echelon within society and the rest of the world. so much, but what Warhol presented in examination of the country's tumult am In the mid-1960s, the Flowers series st although friends of Warhol believe the; Herko, a dancer who fell to his death a tripped versions of the natural world ai floral still life painting not only as a bre Warhol has stated, "I like things to be exactly the same over and over again” IDanto, 55). Warhol claimed to have eaten Campbell's soup every day for 20 years and marveled that the taste never changed. This suggests Like his many other works, the Flower.1 hibiscus flowers by Patricia Caulfield f the emergence of globalism—where it could be guaranteed that the consumer experience is the same around the world and the ability to acquire such commodity meant a global belonging. The Flowers debuted at the Leo Castr The Factory as well as Warhol's work "Buying is more American than thinking, and I'm as American as they come." - Andy Warhol (Bernstein. 19) Aware that the American dream was built on consumerism, Warhol began working with symbols with loaded ideology. The first of these, the dollar bill symbols, was another suggestion by Latow. The symbol, however, plays on the concept of buying art as a consumerist activity. One can literally and figuratively see the message that "art is money on the walls." (Bernstein, 19). In the early '60s, when Warhol first made the $ pieces, they ironically commanded little value. When he returned to the symbol later in his career, the $ pieces now stood as a solid investment and a celebration of American capitalism. destination for cultural elite and curio The Factory, and amidst the socializir often simultaneously. The Flowers exl Paris show the following spring, Wart himself to film. WARHOL, THE F1LMMAKI Warhol was attracted to beautiful pe While the American Dream reflects capitalism, the Pop Art Dream reflects celebrity. And Warhol was and the American Dream. If he felt p enamored with fame. Hollywood became the ultimate symbol of the American dream and the foundation of Alloway's term, Pop Art. for a Screen Test. In his lifetime, he r On August 4,1962, the day after Warhol's first exhibition closed, Marilyn Monroe was found dead in her home. Warhol was an avid collector with e> His childhood love of starlets was now colored by the stain of tragic mortality. His art followed suit. the Andy Warhol Museum in Pittsbu photos of young Hollywood. In fact, The Screen Tests took collecting to Accessing a promotional portrait of Marilyn Monroe from the film Niagara, Warhol cropped his composition and holds dear. He was finally able t to closely frame her face. He did nearly 50 paintings of Marilyn, close after her death, and like the Soup Cans, returned to them later as set of 10 limited edition screen prints (edition of 250). The image, blown of their living essence. However po\ out and dripping with sex appeal, explored color combinations and even off-register printing to challenge the compositional possibilities in the work, thus representing aspects of her emotional decline. As a result, on the phone or leaving the film she the image of Marilyn becomes a neat mask of what the American rlro=- without influence of Warhol. packaged for public - ........... the Stanislavski-Strasberg Method more important than the footage it �^bell's soup cans in its window, Warhol would go on to create works of other a shelf. This was a reference to the Hollywood and pop culture stars such as Elvis Presley, manufactured existence. Later Warhol Natalie Wood, Grace Kelly, Jackie Kennedy and Liz lature—grids mean 'this image is a Taylor (which preceded Marilyn). His prolific studio jlemented a grid composition of the practice meant he had numerous series in progress at the same time. i. While this may be the case for ittributes to the Warhol style. The tie aesthetic. Later, Warhol used his ncils to make his work but instead Investigating deeper into American culture, at the same time as the Marilyns, Warhol offered another vision of the American Dream: Death and Disaster. Focusing on car accidents, Warhol depicted grisly newspaper photos of accident aftermath. The car, a Jampbell's Soup Cans screen prints in long symbol of American status and independence, ;, the studio was arranged in assembly was transformed into a symbol of our mortality. He 5, Warhol's studio became known as later would take on the electric chair, suicide and race riots. Perhaps this is response to the cultural temperature of the time, perhaps it was empathizing with the pop icons, such as Jackie Kennedy, he loved ourse, it was a suggestion from so much, but what Warhol presented in these works could be considered the modern-day Guernica—an ggestions for subject matter. examination of the country's tumult and chaos. e supermarket was an indulgence is stacked up on shelves, awaiting >nt belonging to a certain echelon In the mid-1960s, the Flowers series stylistically served as a turn from the deceased pop stars and death although friends of Warhol believe these works may have been in memorial to Warhol's close friend Freddy Herko, a dancer who fell to his death after leaping through a window. Just like the Soup Cans, these acid­ tripped versions of the natural world are not a far step out of the traditions of art history. Warhol took on the floral still life painting not only as a break from tragedy but also as an appeal to hippie "flower power" culture. lin" (Danto, 55). Warhol claimed to Like his many other works, the Flowers image was also appropriated from pop culture, a photograph of ; taste never changed. This suggests hibiscus flowers by Patricia Caulfield featured in the June 1964 Modern Photography magazine. ;umer experience is the same around nging. The Flowers debuted at the Leo Castelli Gallery in November 1964, a testament to the efficiency of The Factory as well as Warhol's work ethic and daily amphetamine use. By this time, The Factory was a ne.” - Andy Warhol (Bernstein. 19) destination for cultural elite and curiosities. Artists, socialites, musicians, drag queens, all could be found at The Factory, and amidst the socializing, Warhol could be found working on numerous projects, including films, n working with symbols with loaded n by Latow. The symbol, however, ■ally and figuratively see the message lol first made the $ pieces, they i his career, the $ pieces now stood often simultaneously. The Flowers exhibition sold out, and when he created new editions of the work for his Paris show the following spring, Warhol had decided to announce his retirement from painting and devote himself to film. WARHOL, THE FILMMAKER Warhol was attracted to beautiful people—undoubtedly as a result of his lifelong obsession with Hollywood and the American Dream. If he felt people were interesting or attractive, Warhol invited them to The Factory for a Screen Test. In his lifetime, he made over 500 Screen Tests, 300 of which have been preserved through s celebrity. And Warhol was the Andy Warhol Museum in Pittsburgh, Pa. mean dream and the foundation of Warhol was an avid collector with exquisite taste. As a child, we know him to collect headshots and magazine photos of young Hollywood. In fact, his first prized possession was a signed publicity photo of Shirley Temple. vlonroe was found dead in her home, The Screen Tests took collecting to the next level. They are a collection of living people whom Warhol values ality. His art followed suit. and holds dear. He was finally able to access the society he so looked up to as a child and becomes a collector >, Warhol cropped his composition the Stanislavski-Strasberg Method, aka method acting), Warhol would be flipping through a magazine, talking of their living essence. However powerful the Screen Tests come across (with actors often admitting to using r her death, and like the Soup tion of 250). The image, blown 'ff-register printing to challenge on the phone or leaving the film shoot altogether. This behavior may suggest that acquiring the footage was more important than the footage itself, or it may be that the artist allows space for the subject to be authentic without influence of Warhol. ler emotional decline. As a result, should look like, dressed up and 5 �that he purchased in 1963. Each test lasted four minutes (or Thefilms were shot on his 16 mm Bolex camera tha hi^ c|osest frjends such as |^s assistan^ 16 frames per second), the length of one fi m roll of Gerard Malanga, and any strangerr whooen er Edie Sedgwick, Dennis Hopper, N.co, Lou Reed. Dy|an and Marce| DuChamp. best.known Screen Tests feature Interview magazine led to endeavors reference to his famous 1968 quote,' of his death, Warhol was working wit Saturday night show titled "Warhol 7 tino films at the same time as he was making the works As typical of his studio process, Warhol begat, crea an 8-hour film of the sun for the show to be produced on NBC irreverent interviews as a means to c f.|ms t0 be |ethargic and beautifully that made him a household name. The best —.adSe..ed8«aSlo.e™i™«ofton,, Clearly, filmmaking diversified Warhc of teen magazines and publicity phot establishment of Interview magazine him to stretch back into the commen of culture. ——i-rEd“nr Velvet Underground, a rock band Warhol art-directed, in the Explodi g THE BUSINESS OF WARH Plastic Inevitable. By the 1970s, Warhol had achieved th In December 1964. the Screen Tests titled The Thirteen Most Beautiful Boys and The Thirteen Most Beautiful Women were shown at the New Yorker Theater as part of a Film Culture Sixth Independent Film Award to Andy Warhol. Included in The Thirteen Most Beautiful Boys collection were Dennis Hopper and the late Freddy Herko. Herko's Screen Test was a haunting reminder of his tragic suicide a few months earlier. It was a loss that affected Warhol deeply. His celebrity attracted those in high s Warhol became a status symbol, and The society elite wanted to be a Mari publicity photographs Warhol access' photographs with a Polaroid camera, (Schaffner, 82). The entire "look" howe makeup on his models and put bright frequently apparent in the Polaroids b Filmmaking became the perfect avenue for Warhol to connect with high society. It permitted the shy personality to spend time with the cultural The result was considered a "vanity pi elite under the premise of making art. However, when asked why he Chudney and Rhonda, glamorized so preferred filmmaking to painting, he said, "It's easier. You turn on a switch to have their athletes sit for Warhol—i and it does the work." Compare this to Warhol's painting process in The athlete portraits were primarily d< The Factory. The paintings required a team to create, and in fact he relished the idea that the process was mask. The portraits now featured larg so flushed through that anyone could make a Warhol work. Conversely, filmmaking was a relatively solitary experience for Warhol, until it too became something he could pass off to his ingenue, Paul Morrissey. For Warhol treated the works rather indiff most of his filmmaking career, he alone operated the camera, often embracing the dust, scratches, camera it was for the shallow reason of match jerks, and out of focus shots. He wanted it to be apparent there was someone else behind the camera, which if he was close to them, such as in his is a stark contrast to his paintings where all the pieces looked "machine made." At the height of the vanity portraits, V\ In 1969, Warhol was denied free tickets to the New York Film Festival. In response, he created Interview series was treated in the same vein as g zine so that he might have press credits to access the Hollywood stars. The magazine was primarily a film magazine but also featured fashion, art and high society. When questioned who would read it, Warhol was intentionally political. Critics "prai spirit, which left poor black and Hispa (Danto, 117). Like his earlier "Death and "Ladies and Gentleman" series was cc apparent dissonance between the "up ««« and aares, examination of American society. Warhol took thousands upon thousan pose. When the artist suddenly died, t y all the covers between 1972 and 1989. retained the photographs and other w have the opportunity to show all of the creator of culture. Interview was heralded as th ^'S artwork’ societY then witnessed Warhol becoming a often was thought to determine the ^ture of pZZlT?.a" °ther Peri°diCals Produced at the time and end of his life, and Interview continues to be 6 remain involved with lnterview until Produced today in the same spirit of its founder. program dispersed the 28,500 photog institutions that would not have the m �,d in 1963. Each test lasted four minutes (or his closest friends, such as his assistant, ,e of his best-known Screen Tests feature ,b Dylan and Marcel DuChamp. e same time as he was making the works -mpire (1964)- an 8-hour film of the sun Interview magazine led to endeavors on TV, including show a on MTV entitled "Andy Warhol's 15 Minutes," in reference to his famous 1968 quote, "In the future, everyone will be world-famous for 15 minutes." At the time of his death, Warhol was working with Saturday Night Live producer Lome Michaels to create a primetime Saturday night show titled "Warhol TV." Michaels was said to have committed all the development funds for the show to be produced on NBC. The show was almost a reimagining of Interview magazine, featuring irreverent interviews as a means to capture culture for safekeeping. /Varhol’s films to be lethargic and beautifully xamination of humanity. Clearly, filmmaking diversified Warhol's appeal, ultimately leading to a wider audience. The young collector of teen magazines and publicity photographs became an important contributor to the medium. The defiant establishment of Interview magazine allowed him to access Hollywood in a way his films could not. It allowed /vho rind the ding him to stretch back into the commercial world and become what we refer to today as a "tastemaker" of culture. THE BUSINESS OF WARHOL By the 1970s, Warhol had achieved the same pop culture status as the celebrities he collected in his youth. tiful His celebrity attracted those in high society to commission their portrait done by the artist. A portrait by lew Warhol became a status symbol, and he relished every moment of it. vard to jn were The society elite wanted to be a Marilyn, a Jackie or a Liz, however they did not have the comparable ;a publicity photographs Warhol accessed for the iconic works. Warhol resolved that by taking his own publicity a loss photographs with a Polaroid camera, stating that the "blinding flash... leaves the sitter looking dazzled" (Schaffner, 82). The entire "look" however was not the result of the camera. Warhol was known to cake white makeup on his models and put bright lipstick on their lips in order to emphasize their features. The makeup is frequently apparent in the Polaroids but imperceptible in the final art piece. high iral The result was considered a "vanity portrait." Diana Ross had commissioned portraits of her daughters, Chudney and Rhonda, glamorized so that they could be seen as reflections of the star. Agents would arrange witch to have their athletes sit for Warhol—resulting in the iconic portraits of Wayne Gretzky and Muhammad Ali. relished the idea that the process was The athlete portraits were primarily done in the 80s when Warhol's aesthetic progressed beyond the Marilyn mask. The portraits now featured large color blocks stitched together by the image captured in Polaroid. sly, filmmaking was a relatively solitary off to his ingenue, Paul Morrissey. For Warhol treated the works rather indifferently. If a sitter had a color suggestion, Warhol was amenable—even if unbracing the dust, scratches, camera it was for the shallow reason of matching a couch. The only time Warhol would not glamorize his subject was someone else behind the camera, which ine made." I. In response, he created Interview >d stars. The magazine was primarily a uestioned who would read it, Warhol if he was close to them, such as in his memorial portrait of Julia Warhola after her passing. At the height of the vanity portraits, Warhol created his "Ladies and Gentlemen" (1975) series. Stylistically, the series was treated in the same vein as the portraits of socialites, but his models were transvestites. This series was intentionally political. Critics "praised [the work] as exposing the 'cruel racism in American Capitalist spirit, which left poor black and Hispanic boys no choice but to prostitute themselves as transvestites'” (Danto, 117). Like his earlier "Death and Dying" series contrasted his "Marilyn" and "Flowers" series, the :ate reading material not being produced "Ladies and Gentleman" series was compared to the Mick Jagger portraits done at the same time. The paired together interesting pop apparent dissonance between the "upper" and "lower" echelons can be thought of as a well-rounded artistic roy Donahue; author Truman Capote examination of American society. legend Mae West. Warhol took thousands upon thousands of Polaroid and gelatin silver print photos in order to craft the perfect iowitz, who became a columnist for the pose. When the artist suddenly died, the Andy Warhol Foundation was created as per his will. The Foundation ver created any of the iconic cover art. retained the photographs and other works left behind by the artist. In 2007, realizing that they would never id 1989. have the opportunity to show all of the photos, it established the Photographic Legacy Program. This program dispersed the 28,500 photographs to 180 learning institutions across the United States, focusing on 'then witnessed Warhol becoming a ier periodicals produced at the time and institutions that would not have the means to acquire such works otherwise. d remain involved with Interview until same spirit of its founder. 7 �THE DEATH AND THE POP KING Mortality was a theme he returned to in his work time and time again. Privately a devout Catholic, he was working on a painting of the Last Supper at the time of his death. The famous Last Supper image was overlaid with camouflage print, a pattern he also used with his self-portrait. The camouflage pattern references the historic tradition of landscape painting, since the pattern was produced by the military to disguise weapons and soldiers in the outdoors. The main symbolism to the work suggests hiding something in plain sight. Camouflage was also the subject of another series of 10 limited-edition screen prints in 1986 In 1968, an occasional figure at The Factory, Valerie Solanas, shot Warhol and an art critic outside the famous studio. While Warhol survived the near-fatal attempt, his physical and mental health never fully recovered He spent much of his life frail and weak. Warhol unexpectedly died in 1987 as a result of a seemingly routine operation. He was 58. Warhol had a lifetime of gall bladder problems and had been extremely ill for at least 15 years. His illness had never deterred his work ethic. It has been thought that his discipline to his work, compounded by daily amphetamine use and his fear of hospitals, was his downfall. Warhol famously said, "If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There's nothing behind it" (Danto. 145). The clue to that statement is that Warhol IS encapsulated in every piece he created. His dreams, anxieties, sexuality, aspirations, thoughts - it's all there. If one considers his use of camouflage, one recognizes that it hides the subject in plain sight. As a shy, gay, poor son of an immigrant family, Warhol always aspired to achieve the American Dream. Many would consider him a success story, in which the driven artist would most likely agree, but one might question, with all his success, if he realized that he actually became an icon. Works Cited: Bernstein, Roberta. 'Warhol as printmaker." Andy Warhol prints, edited by Frayd; Schellman, Ronald Feldm; tan Fine Arts, Inc., New York, NY, 1985, pp. 14-26. la Feldman and Jorg Danto, Arthur C. Andy Warhol. New Haven, CT, Yale University Press, 2010. Schaffner, Ingrid. The essential Andy Warhol. New York, NY, Abrams/Wonderland Prr Staff, Andy Warhol Museum. Andy Warhol, 365 takes: the Andy Warhol Museum collection. New York, NY, ■ess, 1999. H.N. Abrams, 2004. 8 This portrait w; Interview Magazir with l.a. Eyewear, t and his unwitting Warho �ivatelv a devout (latholic, he ie lamoiir. I ant Supper image eitiail I he camoullage pattei iti'd edition screen ital health never on. He was 58. Warhol had eats. His illness had never < 111'ldnuin find Jorg Il'l I'l!)9. Jim Hun �ONI©1 IMDEWVTHBEEt Campbell's Soup I (Onion) Andy Warhol Screenprint on Paper Courtesy of The Maslow Collection at Marywood University The Campbell's Soup Cans. Warhol’s first exhibition, emerged from a discussion with interior designer Muriel Latow, who encouraged Warho paint something that "everyone sees every day, that everyone recogn «■ a can ot soup." The set was inadvertently displayed on a shelf, the ga ery attempt to keep it level, but Warhol fell in love with the supermarket loo When it premiered, a rival gallery displayed real soup cans in their window, advertising that they are five for a dollar. 10 ��IS CONI SC W'- : a# To celebrate the 5C Soup Cans, Campb Condensed Toma The c �������a �■ HUI Interview Magazines Andy Warhol, Publisher Cover Artwork: Richard Bernstein Jodie Foster, June 1980 Debra Winger, August 1980 Grace Jones, October 1984 Diane Lane, November 1984 Mel Gibson, June 1984 Diane Lane, February 1980 Patti Lupone, October 1980 Klinton Spilsbury, November 1980 Joan Rivers, December 1984 ean Young, September 1980 Courtesy of Private Collectior in «sy of Haverford College Nicknamed "The C Rive "«ne a fe„. 20 featured he,e indu ®"s k’»0 ™th Warhol's uisron of unedited. real -"elude interviews „i(h Me| w„e �7.'7/l,h celebrities, artists, ��®fcFiiIatripl,u3ni)nir(r People/home/entertn, a 1 Stars andlighh Reports aside, Carlin insists he hasn’t changet crust They put aside law for lyrics delphia Inquirer 982 :esy of Haverford College to depict her as a young Wadephia Inquirer, ' ethereal beauty ss, not the mother- Grace Kelly Red Andy Warhol Screenprint glazed on Porcelain Tile 1984, reprinted 2003 Courtesy of Haverford College This tile was printed as a fundraiser for the Institute for Contemporary Art, the university museum of Philadelphia. The piece was both a memorial for Kelly, born in Philadelphia, and a thank you to the ICA which housed a solo exhibition for Warhol in 1965. 23 �From't Pete Rose Andy Warhol Screenprint on Lenox Museum Board 1985 Courtesy of Trout Gallery, Dickinson College This work was part of a series commissioned by the Cincinnati Art Museum in 1985. Warhol did not pose Rose for a Polaroid as he did with many of the Vanity Portraits, but rather based the painting on an image from the instructional book “Pete Rose on Hitting: How to Hit Better than Anybody." �- Sitting Bull Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle From Warhol's 1986 "Cowboys and Indians" series. The Sitting Bull model was an archival photograph of the Lakota chief. Warhol's combination of Hollywood glamour and active resistance calls into question the unchallenged, and heavily-embellished fables of the American West. 25 �Ladies and Gentleman Andy Warhol Lithograph 1970 Courtesy ol Gallery of Art, University of Northern Iowa 26 "Tht sh ��Pig Andy Warhol Polacolor Type 108 1986 Courtesy of Reed Ga(|ery Unjversjty Qf le' Presque Isle �Fiesta Pig Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle This quirky print was commissioned by the German magazine Die Walt. It has been compared to Warhol's still life "After the Party," featuring similar colorful glassware, only this time, a pig has come to investigate. 29 �s �'•f . ..I.,, ■ ��Absolut Andy Warhol Polaroid 1980 Courtesy of Trout Gallery. Dickinson College first collaboration it commissions, z and Lady Gaga. 33 �Wayne Gretzky Andy Warhol Polacolor ER 1983 C”L,,e!’0,R“dGa"“>'U-,!,l,0,Maine.p.esque|s|e theYpf" hSh ctenn9 a variety of league and^e^0010!'1 °'lerS' He quickly skyrocketed to fame in the ear by Sports Illustrated and records-ln 1982' he was named "Sportsman of ��£ $• Unidentified Boy [Striped Shirt] Andy Warhol Polacolor ER 1986 Courtesy of Reed Gallery, University of Maim le ’ Presque Isle Barbara Allen (1951 financier of Interview mac She appeared on the c< socializing with Allen, f was proudly provacati' Warhol's help in findin 36 �Barbara Allen Andy Warhol Polacolor 2 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Barbara Allen (1955-Present) was the former wife of Joe Allen, paper magnate and co­ financier of Interview magazine. She was a close friend of Warhol and, therefore, a 70s IT girl. She appeared on the cover of Interview magazine in 1977. Warhol's diary mentions frequent socializing with Allen, from grabbing a drink and a movie to attending events together. She was proudly provacative, frequently dishing about her latest carnal conquests and seeking Warhol's help in finding the next. Her paramours include musician Mick Jagger, filmmaker Peter Beard, and Greek billionaire Philip Nirachos, among others. �Lyn Reason (19 .■Lyn Reasons'-' Charles was deceasedS Wh°'*roteportr£ Singer-songwriter Carly Simon (1945-present) is perhaps best known for het hit Vou re so Vain." Like Barbara Allen, Simon also had an affair with musician Mick tagger, who sings backup vocals on the track. According to Warhol, Simon was the only girlfriend that Mick's wife Bianca was jealous of because Carly Simon is intellegent... and looks like Mick and Bianca." ho Simonws feared in an ABC television special where �Lyn Revson (2 poses) Andy Warhol Polacolor 2 1981 Courtesy of Reed Gallery, University of Maine - Presque Isle it known for h affair with According to Lyn Revson (1931-2011) was a style icon during the 1960s and 1970s and author of "Lyn Revson's World of Style," the renowned fashion manual. Her second husband Charles was the president of the Revlon cosmetics company. Charles had been deceased six years when this Polaroid and the resulting portrait were completed. Warhol wrote of the sitting in his diaries "...Lynn Revson called and said she loved the portrait but that her cheekbones looked too fat. I knew she'd be trouble." was jealous Bianca." special where iger. 39 �A"dy Warhol Polacolor 2 1979 Courts;iSy °f iS Ga"ery’ Univers*y Maine - Presque |s|e Constantine Karpidas (19-n Pauline, an avid contemporary coll 3 Sllippin9 ma9nate from Greece. He and his wife who in turn introduced them to tA/6^'Were ^riends Wlth another collector, Alexander lolas, °°"*r Bills until 2009.'were the owners of Warhol's 200 6n,tWaSaucti°ned off for $43.8 billion. �nd his wife Alexander lolas, Warhol's 200 �Gei Ger< the^ portic work k �artist. 3 in fatilda ove to ��Leah and Tora Bonnier Andy Warhol Polacolor Type 108 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle 1 career < bands, They liary, otic shot le. �■'■I'.ljy | ‘ v-t,.' V: • • ■ 1 J o| v . '*'lf >1 ’ J 11 <1 \\ > "IO 1,1 Hl.| 1... , ........ ���nthe mesake illege, lans F "new" th the Jle of �I ■ P^olor Type 1O8 Courtesy of Reed Ga||erv ... ■«"«tyo(uainc.prKquelsle millior piece about so ��I Frieder Burda Andy Warhol Polacolor 2 1982 Courtesy of Reed Gallery, University of Maine - Presque Isle Frieder Burda 11936-present) is a German art collector. In 2004, he opened the Museum Frieder Burda in Baden-Baden. While the museum's major focus is on German painters, particularly post-war artists, it does feature two Warhol prints, those made of Frieder and his mother, Aenne. Lorna Luft An actress Judy Garland singing''0 Truman makeup on regular t �Lorna Luft Andy Warhol Polacolor ER 1982 Courtesy of Trout Gallery, Dickinson College Lorna Luft (1952-present) is the daughter of Judy Garland and half-sister to Liza Minelli. An actress in her own right, Lorna got her start singing on her mother's CBS series "The Judy Garland Show." Since, she has graced television, film and the stage with her beautiful singing voice. She had been a true socialite of the era, photographed alongside Warhol, -,prrv Han at studio 54, Of the sitting, Warhol wrote: "She had no ‘'a like Marilyn. If she just left her �Martha Graham Andy Warhol Polacolor ER 1979 Courtesy of Trout Gallery, Dickinson College Martha Graham (1894-1991) is a legendary choreographer considered "the Mother of Modern Dance." Warhol met Graham through esteemed designer Halston, who created costumes for her dancers. Warhol created a series based on the movement in her ballets. "When I first met Andy, he confided to me that he was bom in Pittsburgh as I was, and that when he first saw me dance 'Appalachian Spring' it touched him deeply, Graham said. "He touched me deeply as well. He was a gifted, strange maverick who crossed my life with great generosity. His last act was the gift of three portraits he donated to my company to help my company meet its financial needs." �Polacolor Type 108 1974 ther who iment in sburgh I him f three :eds." ��with popularizing the others. After Sprouse's , he traded two paintings rhol's inner circle, some inly gay and painfully shy, earing a suit designed setion decorated with the Jis Vuitton, Marc Jacobs, �Flowers-set0flo Andy Warhol 1S9C70enPrintOnpaper CourtasyofHaverfordCo||egi ie lcharnp's Re; ’te '8rea> used a Photo,■SraZX.iX'cw) 'h 10t09raphy^. agazine. After the orio' featured in the ::l sought to f ‘J expand through collah Editions Prrocessandphotr. 'Created neari ■ near,ly perfe, ■actreprodUcu/ henne9°t'ationsfe|| „ , lndayBM, CoulddotOssto Tri9'Bec^s wo dUCti°"- Who eve t °VSr hiS PrPcess, .^Print' Warhol v i-T S'9n them, "Th heca^ across a Partlcularlyrare. 9,an Phots are Con ^^-Andy C°nSldered legitimate and **J55 58 �that "great ed in the Y Editions h Belgian gotiations fell 'nous Warhol his process, across a e. Andy timate and �GelaSd PreSS Phot°Xh//ea''e L°Ve Da"as- with G°v Connally 196^S"verprintonPaper C°Urtesy of Haverford Co||ege Assas«'n a' J°hnSOn being Si S ?res'dent of the United States, following the 1963tlnSilVerPrintonpaper C0IJrteSyOfHaverfOrd C0||ege SSXand196^rhOiw lar9e SCale PrintS in a series realized that p °'Saster Se"es '?a9es of mortality in 6 Crashes’ electric chairs, Jackie Kennedy t0 be 'n ZnVe7thio9 I was ^arh01 ^mined J T C°lors-ln a ^3 interview about Kennedy and bo^0 h'Slate friend^T haVe been DeTth"includin9 the Mari|yn set rn°Urn over ' reddy Herko. |n °Ss °f a loved nno 15 ater Flowers series was thought sence’ Warhol empathizes with Jackie �ov Connally fthe United States, following the arge scale prints in a series hes, electric chairs, Jackie Kennedy colors. In a 1963 interview about vorks, including the Marilyn set. I 'is later Flowers series was thought Marbol empathizes with Jackie �* The Emancipator and His Flock James K. W. Atherton Gelatin Silverprint on Paper 1963 Courtesy of Haverford College In Solemn Procession Unknown Gelatin Silverprint on Paper 1963 Courtesy of Haverford College �I A 1 A U‘ ■ V V i- JI (' n I Lee Harvey Oswald Grimaces as he in Glint by lack lhih\ Robert Jackson Gelatin Silverprint on I’apoi Gourlo-jv ol I lavoiloiil (ailloiio �Plnk Camouflage A”dy Warhol ^nprint on Museum Board famo^irksm|fCh as an artisSe°Butyh2rnt t0 C°nCea1, Warho1 was making a political andfilmsand me,and7hnt‘° ^nowal* about^And'vW3'^ S'^kt WaS 1________ ............... undoubtedly one of Warhol's pnntthatis Part Of a set®fr®‘am-There's nothing behind^ — '°°k SUrfaCe °f my paint'ngS esomeof hisfina| works The Camouflage pieces, including this --------------------------- �■ 4 V 1 5 making a political jbtedly one of Warhol's e surface of my paintings flage pieces, including this Andy Warhol's Paintbrush Henry Leutwyler C-Print 2016 Courtesy of Social Fabric Collective © Henry Leutwyler A specialist in celebrity portraiture, Henry Leutwyler's photography series Document captures the heart of the celebrity through their possessions. Here, Leutwyler demonstrates Warhol's quirky contradictions through his paintbrush. The handle is covered in neon splotches of paint, while the bristles are almost pristine. O’ �exhibited N CHECKLIST phi Andy Warhol Greg Gorman Archival Pigment Print SeSyaS0d.!r««“lBClM Marilyn Monroe Eugene Korman Gelatin Silver Print on Paper 1953 Courtesy of Haverford College Henry Leutwyler C-Print 2016 „ „ ,■ Courtesy of Social Fabric Collective Campbell's Soup I (Onion) Andy Warhol Screenprint on Paper 1968 Courtesy of The Maslow Collection at Marywood University Campbell's Soup I (Black Bean) Andy Warhol Screenprint on Paper 1968 Courtesy of The Maslow Collection at Marywood University Campbell's Soup I (Pepper Pot) Andy Warhol Screenprint on Paper 1968 Courtesy of The Maslow Collection at Marywood University 50th Anniversary Campbell's Tomato Soup Cans (Limited Edition) Released for Target stores 2012 Courtesy of Haverford College $1 - Set of 6 Andy Warhol Screenprint on Paper 1982 Screen print on Paper 1970 Curtesy of HaverfordCo||ege Marilyn Monroe ^."‘PPeHalsman Gelatin Si|ver p. 1954 rir|tonPa|iper Courtesy of Hai lverf°rd College An*Sprint WaT°on Museum Bo Weegee Gelatin Silver Print on Paper 1986 of Reed Gallery, U Courtesy - Presque Isle of Maine c. 1965 Courtesy of Haverford College LadiesandGentleman Andy Warhol Marilyn Monroe Tom Kelley Chromolithograph Print on Paper 1949 Courtesy of Haverford College The Kiss (Movie Still) Andy Warhol Gelatin Silver Print on Paper 1963 Courtesy of The Maslow Collection at Marywood University Interview Magazines Andy Warhol, Publisher Cover Artwork: Richard Bernstein Jodie Foster, June 1980 Debra Winger, August 1980 Grace Jones, October 1984 Diane Lane, November 1984 Mel Gibson, June 1984 Diane Lane, February 1980 Patti Lupone, October 1980 Klinton Spilsbury, November 1980 Joan Rivers, December 1984 Sean Young, September 1980 Courtesy of Private Collection Sylvester Stallone, September 1985 Courtesy of Haverford College C07teM0fTheMaS'OWColl^on at Marywood University ■ford Colle of Haver1 couttesy Scree- . Marilyn [sic] Andy Warhol's Paintbrush A/(/^2 Lithograph Curtesy of Gallery of Art, U Ladies and Gentleman Andy Warhol Screenprint on Arches Pape 1975 Courtesy of Trout Gallery, Di Pine Barrens Tree Frog (Endt Andy Warhol Screenprint on Museum Bo; 1983 Fiesta Pig Andy Warhol Screenprint on Museum Bot 1986 Courtesy of Reed Gallery, Ur of Maine - Presque Isle pig Andy Warhol Polacolor Type 108 1986 Courtesy of Reed Gallery, Un of Maine - Presque Isle Brill° Soap Pads Pete Rose Andy Warhol Screenprint on Lenox Museum Board 1985 Courtesy of Trout Gallery, Dickinson College Andy Warhol 1970enPrint °n Paper Courtesy of Haverford Colleg Abso/ut Grace Kelly Red Andy Warhol Screenprint glazed on Porcelain Tile 1984, reprinted 2003 Courtesy of Haverford College J^dy Warhol nJa,tln Silverprint on Paper not dated CoLJ|-tesy of Trout Gallery, Die Abso/ut Grace Kelly Unknown Photographer Gelatin Silverprint on Paper c. 1950 Warhol p°laroid 1980 tesY °1 Trout Gallery, Die �Philadelphia Inquirer 4/1/1982 Courtesy of Haverford College on Paper ord College Sitting Bull Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle 3n Paper rd College ■int on Paper d College i Paper ow Collection ersity ler j Bernstein I 1980 984 1984 980 980 uber 1980 I984 •1980 iction imber 1985 allege seum Board Ladies and Gentleman Andy Warhol Lithograph 1970 Courtesy of Gallery of Art, University of Northern Iowa Ladies and Gentleman Andy Warhol Screenprint on Arches Paper 1975 Courtesy of Trout Gallery, Dickinson College Pine Barrens Tree Frog (Endangered Species Series) Andy Warhol Screenprint on Museum Board 1983 Fiesta Pig Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Pig Andy Warhol Polacolor Type 108 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Brillo Soap Pads Andy Warhol Screenprint on Paper 1970 Courtesy of Haverford College Dickinson College celain Tile Absolut Andy Warhol Gelatin Silverprint on Paper not dated Courtesy of Trout Gallery, Dickinson College ege r Absolut Andy Warhol Polaroid 1980 Courtesy of Trout Gallery, Dickinson College Screen Tests Andy Warhol 16mm film transferred to digital files Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc. Ann Buchanan, 1964 Paul America, 1965 Edie Sedgewick, 1965 Billy Name, 1964 Susan Bottomly, 1966 Dennis Hopper, 1964 Mary Woronov, 1966 Freddy Herko, 1964 Nico, 1966 Richard Rheem, 1966 Ingrid Superstar, 1966 Lou Reed (Coke), 1966 Jane Holzer (toothbrush), 1964 Flowers - set of 10 [Sunday B Morning prints] Andy Warhol Screen print on paper 1970 Courtesy of Haverford College The Emancipator and His Flock James K. W. Atherton Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Vice President Lyndon B. Johnson being Sworn in as President of the United States, following the Assassination of President John Kennedy Cecil Stoughton Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Jackie Kennedy at John F. Kennedy's Funeral Unknown Gelatin Silverprint on Paper 1963 Courtesy of Haverford College In Solemn Procession Unknown Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Lee Harvey Oswald Grimaces as he is Shot by Jack Ruby Robert Jackson Gelatin Silverprint on Paper 1963 Courtesy of Haverford College �John F. Kennedy Jr., who turned three today, salutes as the casket of his father, the President John F. Kennedy passes. Dan Farrell Gelatin Silverprint on Paper 1963 Courtesy of Haverford College The President and Mrs. Kennedy leave Love Field Dallas with Gov Connally Associated Press Photograph Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Pink Camouflage Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Wayne Gretzky Andy Warhol Polacolor ER 1983 Courtesy of Reed Gallery, University of Maine - Presque Isle Japanese Toy Andy Warhol Polacolor ER 1983 Courtesy of Reed Gallery, University of Maine - Presque Isle Unidentified Boy [Striped Shirt] Andy Warhol Polacolor ER 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Barbara Allen Andy Warhol Polacolor 2 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Carly Simon Andy Warhol Polacolor Type 108 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Lyn Revson (2 poses) Andy Warhol Polacolor 2 1981 Courtesy of Reed Gallery, University of Maine - Presque Isle Constantine Karpidas Andy Warhol Polacolor 2 1979 ____Of Reed Gallery, University Courtesy of Maine - Presque Isle Jeanine Basquiat Andy Warhol Polacolor ER 1985 Courtesy, of Reed Gallery, University of Maine - Presque Isle Matilda Basquiat Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine-Presque Isle Gerard Basquiat Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine - Presque Isle Vitas Gerulaitus Andy Warhol Polacolor Type 108 c. 1977 Courtesy of Reed Gallery, University of Maine - Presque Isle Leah and Tora Bonnier Andy Warhol Polacolor Type 108 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Shiandy Fenton (2 poses) Andy Warhol Polacolor Type 108 1977 Courtesy of Reed Gallery, University of Maine - Presque Isle Rhonda Ross Andy Warhol Polacolor 2 1981 Courtesy of Reed Gallery, University of Maine - Presque Isle Shirley Fiterman Andy Warhol Polacolor Type 108 1976 Courtesy of Reed Gallery, University of Maine - Presque Isle Natalie Sparber Andy Warhol Polacolor ER 1984 Courtesy of Reed ( Unidentified Woma Andy Warhol Polacolor Type 108 1977 Courtesy of Reed G Philip Niarchos 8/1! Andy Warhol Polacolor Type 108 1972 Courtesy of Reed G Frieder Burda Andy Warhol Polacolor 2 1982 Courtesy of Reed G< Lorna Luft Andy Warhol Polacolor ER 1982 Courtesy of Trout Ge Martha Graham Andy Warhol Polacolor ER 1979 Courtesy of Trout Ga, Monique (for Ladies a Andy Warhol Polacolor Type 108 1974 Courtesy of Trout Gal Steven Sprouse Andy Warhol Polacolor ER 1984 Courtesy of Reed Galli �as allery. University Natalie Sparber Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine - Presque Isle iue Isle Unidentified Woman #14 (3 poses) Andy Warhol PolacolorType 108 1977 Courtesy of Reed Gallery, University of Maine - Presque Isle lery, University e Isle >ry, University Isle y, University sle University e Philip Niarchos 8/1972 Andy Warhol PolacolorType 108 1972 Courtesy of Reed Gallery, University of Maine - Presque Isle Frieder Burda Andy Warhol Polacolor 2 1982 Courtesy of Reed Gallery, University of Maine - Presque Isle Loma Luft Andy Warhol Polacolor ER 1982 Courtesy of Trout Gallery, Dickinson College Martha Graham Andy Warhol Polacolor ER 1979 Courtesy of Trout Gallery, Dickinson College Monique (for Ladies and Gentlemen) Andy Warhol Polacolor Type 108 Jniversity 1974 Courtesy of Trout Gallery, Dickinson College Steven Sprouse Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine - Presque Isle liversity versity �IsORDONI ART GALLERY ■ WILKES UNIVERSITY ADVISORY COMMISSION Virginia Davis, Chairperson Stanley Grand, Ph.D. Patricia Lacy Patrick Leahy, Ed.D. Kenneth Marquis Allison Maslow William Miller Paul Riggs, Ph.D. Eric Ruggiero Anne Skleder, Ph.D. Heather Sincavage Jamie Smith Andrew J. Sordoni, III Joel Zitofsky STAFF Heather Sincavage, Director Karly Stasko, Research Assistant GALLERY ATTENDANTS Timothy Brown Olivia Caraballo Margaret Galatioto Paige Gallagher Jessica Morandi Sarah Matarella Julie Nong Kayla Wedlock Nash Wenner �r IMSOM OLLEi^ RJWIWl&'SlHFYr' '.' v.- .; ■ii^www./fiii^, sfdiu.i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 October 06 - 20th 15 Minutes; From Image to Icon Subject The topic of the resource Andy Warhol Description An account of the resource Andy Warhol coined the phrase "Everyone should be famous for 15 minutes." This exhibition examines Warhol's interest with pop culture figures, the images they are synonymous with and the transformative quality of Warhol's process, thus creating pop culture. While some of his most iconic images draw from pop culture itself, the artist can be credited with elevating the average objects, such as the Campbell’s Soup cans, to pop status. Creator An entity primarily responsible for making the resource Andy Warhol (artist); Heather Sincavage (Curator) Source A related resource from which the described resource is derived SAG Publisher An entity responsible for making the resource available SAG Date A point or period of time associated with an event in the lifecycle of the resource 2017 October 6-20 Rights Information about rights held in and over the resource Wilkes University retains the rights to this exhibition program. Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/61f3aabee6dd1334dbd0cfac90dac550.pdf 13215a796619281f6efb6d0c1c2871a8 PDF Text Text ������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2018 January 16 Angela Fraleigh: The Bones of Us Hunger For Nothing Creator An entity primarily responsible for making the resource Angela Fraleigh Eleanor Heartney Date A point or period of time associated with an event in the lifecycle of the resource 2018 January 16 - March 2 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource In this exhibition, Angela Fraleigh reimagines the role of women as they have been depicted in art history, literature, and media. She reaches through the depths of centuries-old and often patriarchal tradition to breathe new agency into her female subjects. The grade scale works feature luxurious depth that makes them sometimes Edenic, sometimes mystical, but always breathtaking. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Angela Fraleigh painter painting paintings rococo baroque figurative art figurative painting Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/a35d9ce5400ccf1a721d9a34e3136140.pdf 52b97ba8bf76f3893ba6d5c2aa7dab4a PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. 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Title A name given to the resource 1978 October 14 Annie Bohlin Creator An entity primarily responsible for making the resource Annie Bohlin Date A point or period of time associated with an event in the lifecycle of the resource 1978 Octobe 14 - November 12 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/a1d8cf105bf0c4faa4f79b84651d1369.pdf 149f380f36e3870bfaa96711ee3d205a PDF Text Text �������������������������������������������������������������������������������� https://omeka.wilkes.edu/omeka/files/original/e945b758fc3fbccc826ae0e786a33fdf.pdf 3d2b4176fb58e14ed8e20fbdeaed986e PDF Text Text I ARCHIVES | 8ORD GA N6337 S6426A4 1998 �ANTHONY SORGE �Copyright ' l998Si»rdoni Ait < i.ilh ip, Will.'■ ! ■ ..i All tight-, reserved 1600 copn were pi inted by I 'nigraphu Color Corporation Photographic Credits. ('olor Plan s Gary Mainat i I (•. 1 I and ... I In Spi ed Ah Musriiin y"’ i Mii hacl 1 huni.v. , S iV HP Set in Adobe Monotype Centaur ISBN 0 0429 b 13 1 HOSH SORt I I OCR DEC AI) �I ANTHONY SORCE: FOUR DECADES Exhibition cnr.HcJ by - Stanley 1 Grand i W ■/»/ • ■ ■■ ■ >’• ■ Mr. » I V \pf,t Essays bv Stanley I Grand John Yau E.S. FARLEY LIBRARY WIL ' . .a ■■ ■ -•> • r »!.:■» i �' r,f -.. ‘ j _ -» 'x?1 V&A-'i. - ‘ �j PROGRESS AND INNOVATION: THE ART OF ANTHONY SORCE Stanley I Grand 3 �his exhibition and accompanying catalogue represent the first in-depth survey of An­ thony Sorcc’s protean artistic career. At times an innovator, at times a developer, Sorce has consis­ tently experimented with new processes, materials, and aesthetic possibilities.These investigations have mani­ fested themselves in a multiplicity of stylistic expres­ sions linked together by his commitment to such Modernist concerns as formal invention and artistic progress. Born in 1937, Sorce was raised in a family that valued the arts. As a youngster he frequently visited the galleries of the Art Institute of Chicago, where he developed his lifelong love of the Old Masters and admiration for the avant-garde. In 1955, Sorce won a citywide competition and enrolled at the American Academy of Art, Chicago, where he fol­ lowed a strict academic curriculum concentrating on drawing from the nude and employing line and value to express three-dimensional forms. His early figure drawings in which units are strung together to form the whole, where the underlying structure, or skel­ eton, is gradually obscured, but never obliterated, by succeeding layers of muscle, and where the entire sum is governed by a rational, logical, additive approach remain key factors in his subsequent works [Fig. I . At the Academy he also received extensive instruc­ tion in color theory and the techniques of oil, water­ color, tempera, and casein painting. This very tradi­ tional training has formed the basis for his lifelong devotion to craft and to expanding and investigating the physical aspects of process. After receiving his diploma from the American Academy of Art, Sorce was awarded a scholarship to study with the sculptor Ivan Mestrovic at X'otre Dame, where he earned his B.F.A. degree in 1961 and his M.F.A. degree a year later. Typical of Sorce's early work, EmHoino, 1961. shows his preoccupation with religious themes Tig. 2 , A subject whose pa­ thos has inspired countless artists, but few as mov­ ingly as Rembrandt. Etc f/eme "Behold die Man" John [9; 4-6, shows Christ at the moment ol bis �5 6 7 8 2 r.^Hciw. Wt'I 3 Qwois H64 4 irfs'fwn. ♦ Drawing for Th Cuy, 1964 364-6-/0, 1965 Vntitlri. 1965 3-70-6-0. 1965 I I J* ■ i > condemnation to be crucified.The work exemplifies arts school in Kalamazoo, Michigan. Outside the Sorce never accepted the nihilistic aspect of Existen- Scree's interest in depicting form in space and his classroom, he met regularly with a select group of tialism, nor did he embrace fully its preoccupation understanding of the expressive use of light, both faculty, led by Dr. George McMorrow, to discuss philo­ with the absurd. In this regard, he remained closer to ■ lessons learned from the Baroque Masters. sophical and artistic matters in general and Existen­ Gabriel Marcel, who maintained his faith, than to | Other ierge figurative works from this period include tialism in particular.1 From his study of Existential­ Jean-Paul Sartre. Replacing his earlier narrative sub­ Gru.~c an a Or.'.’:z-J JfeirTrrfien, both 1964 [Figs. 3 & 4], ism, Sorce came to the dialectic of existence—essence, ject matter and religious content with Existentialism J masklike faces and fragile linear contours, poignanth Lire r.u earliest figure studies Fig. I], the paintings have which increasingly became the content of his art. Yet illustrations for fa Cwlad/ Th Cits. a book of plays, short stories, and poems Madrid: Ldicior.es Magi­ cal, c. 1965 bv Jorge Diaz de la Jara, a Spanish port and fellow professor at Nazareth Fig. S’. Both ot Sorces Draw.sr , Mr Th Cus. 1964. with their signified a key development in Sorces art and marks ■ evoke the plight ot the anonymous. alienated, and an additive quality in which units are combined to his progression from a youthful, religious iconogra- ■ depersonalized individual m the modern city t. olor create a vr. ..t. Sorce viewed his compositional com- phy to a secular, philosophical art to. finally, one in | Plates 1 Si 2 . Sorce also collaborated w ith the poet Stephen Dobvns on A 'srlt-Ptrirau. 19b5. :.-.al building blocks—like the chap­ I. Existentialism, of course, was much discussed at the which formal aesthetic concerns predominate. Indeed. ! ter- tn a : c .I-, or the movements in a symphony— tunc. Not only did its tenets influence professional philoso­ one significant aspect of his art is this development | : Im. ’ . tr-. ate rm integral artistic entity while phers, but it also appealed to a broad range of die intelligentsia. this ability to grow. retaining their own artistic individu- Much contemporary art criticism reflected an Existentialist view­ pener.t.- . In ' cm. • ■ i?.n : an independent unit that ■■ but is not subsumed within, a greater i • - I ' "ii-l " ■■■ ! ’ : .’•• -1 figun . vinbolizing the trans- t; • n.-i’ni-il into spirit, sliow the influ- '■ 1.1 fjr. • .-.*.!. ■rt Itr .ttt' r. <,f I9f 2 ; JO . J- I'liipn.ii / tic at the ir xell known to Sorce. • hfi b.'oir, 1to ’ a pt a i. a. Ii -iz .. * > h f oik ,<<, a -mall lil u'l.il point; Peter Selz, for example, had written in the catalogue ac­ companying the highly influential "New Images of Man" exhi­ bition at the Museum of Modern Art that in response to Toward the end ot 1964. Sorce began to experi­ ment with assemblage Figs. 6 A further consequence of these discussions was "TheVelocitx ot Gows In h*s poem Stephen Dob-.ns described. that Sorce began to collaborate with a number ot "Standing there with lorn Sorce • in the dark ga­ other creative individuals. In IQ64 he provided the rage. he looking for junk, a found ob|*ct.. . . He o tired ot canvas. rhe movement ot spact "solitude and anxiety . . . anguish and dread . . . these new \n- imagists take the human situation, indeed the human pre­ dicament rather than formal structure, as their starting point" iA'rw Images of Man (New York: Museum of Modern Art. in William H. Whytes Hr < liym.anm Ma« D56 t®* the questions of c‘hSvnccs .Mitheniicicv. and hvp»xm>v ** I9.59 i, II,*. Other disciplines as well had incorporated ke\ ixploioi m ,ounik I'.xistrnii.tlist concepts; alienation, for example, was a subtext mlhRsr 1951 among du* most promtnc»X- runvls with |. D ! 2. rhcXikKUv of t <n Sew mi 'ir'a.uJ f^rrv IVngum Bo<iks. 1994.44. m Stephen lX*bsii». ln*iNew York Viking �5 6 7 8 ted the nihilistic aspect of Existen- Drawingfor The City, 1964 364-6-10. 1965 Untitled, 1965 3-70-6-0. 1965 illustrations for Li Ciudad/The City, a book of plays, other poet, BenTibbs, specifically referred to 364-6- slamped into the back of the mannequin’s head by short stories, and poems (Madrid: Ediciones Magi­ 10, 1965, an assemblage included in this exhibition die manufacturer n this regard, he remained closer to cal, c. 1965) by Jorge Diaz de la Jara, a Spanish poet [Fig. 6]: phor of alienation. As in the line drawings for The te embrace fully its preoccupation ^h-f-6-10 semis a fitting meta­ who maintained his faith, than to and fellow professor at Nazareth [Fig. 5]. Both of Replacing his earlier narrative sub- Sorce’s Drawing!s] for The City, 1964, with their ligious content with Existentialism .’elopment in Sorce s art and marks om a youthful, religious iconogra- dispersonalized individual in the modern city [Color ihilosophical art to, finally, one in Plates I & 2]. Sorce also collaborated with the poet this bald mannequin letic concerns predominate. Indeed, Stephen Dobyns on A Self-Portrait, 1965. pale and ashen 10 reflects an awareness of the dehumanizing tech­ quadruple amputee niques employed by political entities. As Hannah stares as if suddenly Arendt noted in her seminal Origins of Totalitarianism aect of his art is this development, City, the figure's gender is ambiguous, unisex, and fixed on axis hence universal. Armless, bald, and stripped, the man­ masklike faces and fragile linear contours, poignantly and squeezed between nequin symbolizes the wounded slate, and lack of evoke the plight of rhe anonymous, alienated, and sides of a large spool wholeness, ol the contemporary individual. (treated Toward the end of 1964, Sorce began to experi­ only two decades after the horrors of the Nazi con­ centration camps had become widely known. 364-6- v. ment with assemblage [Figs. 6, 7, & 8]. In his poem equence of these discussions was to collaborate with a number of “The Velocity of Cows,” Stephen Dobyns described: confronted (1951 , dehumanization by stereotyping, substitut­ "Standing there with Tony Sorce / in rhe dark ga­ by rhe hub of all ing numbers for names, shaving heads, and starving ividuals. In 1964 he provided the rage, he looking / for junk, a found object. ... He is existing dynamics’ bodies, was an essential prelude to the actual, phi st­ tired of canvas, / the movement of space ... s The Organization Mau 1956 ,. Finally, tna. authenticity, and hypocrisy were novels, with J. D. Salinger’s Th Catcher mg rhe most prominent. eal destruction of the victims. An­ Constructed of a mannequins torso, a wooden wire In a sense, 364-6-10 echoes other experiments in spool, and other found objects (364-6-10 was figurative sculpture during these wars, particularly 2. “The Velocity of Cows," in Stephen Dobyns, Veloci­ 4. In fact, 364-G-10 rather than 364-6-10 q pears to ties: New and Selected Poems 1966—1992 (New York: Viking, Penguin Books, 1994;, 44. 3. Ren Tibbs, “364-6-10,” Pyramid 3 I960 •: 12. be stamped on the back of rht- mannequin* head Il �those of Trova (in terms of the sleek, streamlined forms' and George Segal (in terms of the palette). Most significant, however, was the influence of Rob­ ert Rauschenberg’s employment of altered found ob­ jects (a ram tn Monogram, 1959) to create a new’ unity. The use of wheels, to create a chariot-like platform, recalls a long tradition of mobile characters that flows backward from Alberto Giacometti to the Etruscans and Greeks. 364-6-10 also reflects a widespread in­ terest in assemblage during the early 1960s: in 1961 the Museum of Modern Art had mounted "The Art of Assemblage,” with a catalogue by William C. Seitz { The Art of Assemblage, 1961). In many ways this exhi­ bition was a success by scandal: John Canaday, the chief art critic at The Acw York Times, denounced the exhibition as “highly perfumed" and "afflicted by fashionable bloat. Despite Canaday, interest in as5. Quoted by William C. Seitz the exhibition’s cura­ tor] in Art in the Age of Aquarws: (Washington, D.C.: Smithsonian Institution, 1991), 41. 12 semblage continued; and five years later, Allan Kapn chronicled more recent developments in .'lasrmWage. Environments and Happenings 1966 One of Sorces most ambitious paintings to date. Once Upon a Life, 1965, is a Large, flat, frieze-like work, in which an ambiguous, enigmatic drama takes place on a shallow stage [Color Plate 31. To the left, a streamlined man moves toward a large space, empty but for a small circular object that hovers midpoint. In his haste, he distorts the restraining line, whose spiky forms bespeak tension. To the right, a pale, fe­ male character reclines, resting her weight on an el­ bow. Beneath, a heavy figure turns inward, his move­ ment caught as if in a multiple exposure photograph or a Futurist painting. The small picture within the picture, which echoes the larger painting, suggests that the action is occurring in an interior, domestic space. To the far right, facing away from the male, are the legs, buttock, swollen belly, and breasts of a headless figure. An interlocutor, a silent onlooker, peers down upon the scene. of countless childrens stories. I.ik, th, protagonists tn so mam such tales and alb. gurus the man muo rmbatk upon a quest or jourti-x in ot,i<-r to fulfill ho destiny.! he pregnant figure that turns away from the man as he moves outward into hi- future seem ,y■ mize that eternal conflict between the wandering male (Odysseus and the domestic female Penelope In Sorces painting, there is also a quest, but the I jib- :. tential message is that only Ln acting—bv employing free will, In seeking the- unknown—can the essence be transmuted into existence. One cannot, tn ,>thrr words, describe; one must act and experience. The painting is a summary and transitional work ; that continues Sorces preoccupation with narratwr | content; however, its outlook is philosophical rather than religious. It is sincere rather than ironic, rame< rather than knowing. Overall, it appears sonsewhX T unresolved: the large void, for example. In many y the work seems more like a colored drawing tha» a painting. Nonerhele: it is a harbinger of futu* *’$' l.uiguagi. \ltl ■ „lgll S. . ,[ i> IIHI, J lO i \ p|or> <h< lihiv.js ol growth, . h nr,■ • ii' ■ i. ■ In mg .r.,! i. itlungnv s, and oih' i 1 o-.i, mt ilisi . rr,» thiooghout die mid-sixties. In mcr< jsinglv cam,- to beliesc that: I hr sigruln uiee ol in tod.i, u ; i< >r m th, mug-- pro ducid 1.1 Pop. Op. Surrralnm but rail,,’ in the expansion ol media Fortuitous at this time th ( 'pp bn ( ’.imp in. u; Kji ,iiij/o. ,.t ■ .Lot in i,., rigid | ol.unthan, foim r..id.,bli to a limited num­ ber of lo.-.i! .unsts. One of th. i ills bi raIh iirus .>f this dcci<i, n. Sol. • •> II. > I id 1- ,ng been interested tn artistic innovation. began investigating the acstlsetk’ ;sossibiliti< • of polyun thatrf foam. Working in poi.uutfi ,r,. invoked conibimrig a binder and a cat il, st .Much like u ,ot . auung dough to rtsr th, n .mi mt mixtun ■■■■,-u.i d quick]-, m a ratio 6. Anthonv whiir-.d •turins'sK. 1%4 �9 Turn, 1966 1(1 C niirlfd Ljudseape, 1967 a I the painting recalls the opening lines lildrens stories. Like the protagonists in tales and allegories, the man must em|uest or journey in order to fulfill his -cgnant figure.that turns away from the ■s outward into his future seems to epitoal conflict between rhe wandering male d the domestic female (Penelope). In g, there is also a quest, but rhe Exis­ ts that only by acting-—by employing eking the unknown—can the essence into existence. One cannot, in other I one must act and experience. ? is a summary and transitional work Sorce’s preoccupation with narrative er, its outlook is philosophical rather t is sincere rather than ironic, earnest iwmg. Overall, it appears somewhat large void, for example. In many ways more like a colored drawing than a heless it is a harbinger of future fig- K ure-ground investigations and a more visual, abstract language. Although Sorce continued to explore the themes of growth, change, emergence, being and nothing­ ness, and other Existentialist concerns throughout the mid-sixties, he increasingly came to believe that: "The significance of art today is not in the images pro­ duced (i.e. Pop, Op, Surrealism, etc.) but rather in the expansion of media."1’ Fortuitous ar this tune, the Upjohn Company in Kalamazoo decided to make rigid polyurethane foam available to a limited num­ ber of local artists. One of the early beneficiaries of this decision, Sorce. who had long been interested in artistic innovation, began investigating the aesthetic possibilities of polyurethane foam. Working in polyurethane involved combining a binder and a catalyst. .Much like yeast causing dough to rise, the resultant mixture expanded quickly in a ratio 6. Anthony Sorce, undared statement r. I960. of 30 to I. Sorci •> i elicit q’cnimiu w itli th' mw material incorp -r il* J I -ind objci t .■ it _illt> it'll' .111.1 du, .which rl ; . i. .th 1 > , 1.1 and Pop refercnc. lie. 9 • 'swl'i. f- ml- ■■■:.■ would •tr< tdi otdtn tri I’-. Tm , , >t . tram.- md iln-n pour the puli uii th u,i unto on ,li- : i rim--. ,V In worked he cut slits tn the dii io.,, id. r to allow tin medium to rti. .md swell. I !m . th m.ii'ii.il ..nd ehan.i became p.utici; c.iti in th, u .iti’.e pioois. After his mini to R.'.Viiter X< w York, in th« fill of 1967. Suite eontiniH .1 to ■. A. ait io u whi-.r., i. wnh polyurcthani. ( Itt picjl of the extruded form 11 or relut-. • ij; live of gardens or contained landslip, ■, he ctc.itcd during the Lite 1960s Fig. Ilf. With pohur.-thanc Sorce found a mau n J through which he could express hi- underlying conient m in abstract and visual way. In a 1972 letter h< ohset ■■■ .1 Aesthetically and philosophically I ana concerned with the Existentialist'' notion of emergence. th< continual process of cominc into Ix-tng th« dvnami. �Vfwi.Vwr-- Urt*. !X*» i I S&uJ Cay Merk. 1969 MU ■ ' 14 12 Alpl'ribets, 1969 £ -■ • - I li pnvji. private. .or...ptual m.1 . [’belli, rd vi.irkv flux of life—the painful and rewarding course of veloped in several dire. Hous siniult m< > growth and creation."' The material—with its inter­ tore incorporating ek-mi-nts of c.mc. piti.il and p. r were created during i p. ri> ■.! of gtr u .... ul .hjngc twined swellings and depressions, its anatomical, formance art. ironv. found obji etc, and m homage to Although intended is i.onpdrti- il. arsthrlir nwrvti- sexual, and fecund forms—perfectly expressed his Marcel I )uchamp‘s sign, J nt m il. Soic. g.ition themes of growth, emergence, and becoming. Like block f ig. If . Ill. .S/ctad fit / k. In a c*. : d a . it- >•. bounded l>v in rctr. •: < . t tiw. app. at to this wnirr to ask pointed <|U< st ion, u h as AV 1*> own, ihr earth?" Sorer a number *4 cMthwtnrk* th# nt-'-tr I ik a 14 X 15. T Ivm- prc).:C!» it pre ' 'iicrl hi* «Mii n,(Ut js in [h« ri»»ntr i Inion J mute rial* to hnmrfH nf »'•. uc work* h* nontr idrtitinj] Mir*. w; ti well at an the large Seurat in the Art Institute, these works ex­ Wooster. Prince. Grand, and < liven. >tre. is m Sop. • •it i iinn when th. L nited Nat. press a moment frozen in time. Moreover, polvure- was created on Mav 25. 1969. j. p in of a group ill Southeast Asia. I thane represented a new material for a new time. Like project called ''Streetworks III. In other works, such Iiousn. ss ind untie st ei.Iio.m.'niariarusm sharacterts- many others—the Abstract Expressionists had used as Alphabets, 1969, he used twigs md th. it cast shad­ ttc of th. I'ttuls ( on-idering how CommrrriaJ the Duco paint, the Dadaists found objects—Sorce was ows to create an alphabet by the seashore 1 ig. 12 . irt worl.f b,.. !•. omc .t is hird to recall that mam* publication >f R mIw! 4 arson', intent upon employing the industrial products of his The sparse linear quality of these pieces, which w.i. artists n. tiw 19611s active!-, rejected rhe feushntic. continued with the back-toths laris! inisriwiM and time. Sorce's commitment to truth in materials, along promptly destroyed by the elements, recalls 1 Inry commodity aspect of art. Some artists refuted tos-a.-w culminated in live first Earth Day in April 1970 with a desire to escape the constriction of the frame, Callahan's minimal photographs of wild flowers, in galleries and museums while others created hap- were to become characteristic of his later work. weeds, and sticks against a white ground 'sorce has penmgs and other transitory, nonsalat-le works <d art *. a.tnrly at war -. il-o reflect a genet d rdel n< •»' <4 «nIn * i;>: • «. Mi-i« I H* • IXnms jOpixfilw: Jin *»r Hvlx-rt SnwfiiMXk Fix » • .• srk-. 4xsulJ I unJrixnx-jd in chr contra <4 mi inert aung of eeobofteti N*uet that began »tth the In 1969 Sorce began a senes to.ms 1 Fig 16 fyo”* 1X2 :i Mier form1: g 'be shapes he The polyurethane foam experimental reliefs led to described his Alphabet work as "draw ing w uh the . la­ Still others emplir.ed noutraditiorul and unpemunnM W.-uld mt into the polyurethane to reveal the tvn a Guggenheim Fellowship in 1968. which enabled ments and capturing the result with a camera." Oth. r jewel-like inner cellular uriacturr and colors him to move to New York City. Responding to the materials Sorces use of sand and mu. for eian^ar ’* seaside works included Signed Atlantis ( >.<a.i. which in­ displayed their works in anommou* eththrtw* ;*culy>tors then working >n nonrradtfionai materials vitality' of the New York art scene, Sorce’s work de­ volved the ocean’s participation in both their creation stres-.ing the art rather than rhe cult of penutubty. 'included Louise Bourgeois, l.vj Ftrsre. Louise and their destruction • Fig. 13.1 hi se works reflected or guerrilla theater manifestations from the tiorurv War to the Viet Cone guerrilla ta.'tx'' ha* Sorce’s awareness of. and admiration for. Rauschen­ 7. Anthony Sorce. letter dared May 19. 1972. 14 berg’s Erased de Ktvnmg Drawing. 1953. been an effective means of fighting unpertaltS" iVK-' Ni-irlson. jtxl R ichard Stankiewicz. The naw* isthn Totems evoked both ancient monuments such as Stonehenge as well as tlse vcriicdit j of tbr NewYwrk �13 i-r 15 S i1..'.:.. I ‘V .?•:)■.■. mro 5 1 °70 i. ST Lhese private, conceptual, and ephemeral c rks e created during a period of great social change, hough intended as nonpolitical, aesthetic investions, in retrospect thev appear, to this writer to pointed questions such as “Who owns the earth? time when the United States v.ss active!-. at war I | southeast Asia. Thev also reflect a general relzelsness and antiestablishmentarranism characterisaf the 1960s. Considering how commercial the world has become, it is hard to recall that man;, its in the 1960s actively rejected the ferishistic iditv aspect of art. Some Seme artists refused to show 11 modify allenes and museums, while others created hap- j ngs and other transitory, nonsalable vc. >rks of art. others employed nontraditional and imp rm.anent ■rials 'force’s use of sand and sun for example or ■ laved their works in anonymous exhibitions ■ ssing the art rather than the cult of personality I icrnlla theater manifestations from the Revolu| iryWarto the Viet Cong, guerrilla tactics hast ■ an effective means of fighting imperialism Scree also designed a number of earthworks that -z ere never executed Figs. 14 & 15"|. These projects represented his own interests in the employment of nontradiricnal materials to create nontraditional ?-ks for nontraditional sites, as well as an aware­ ness of ether artists, such as Michael Heizer, Dennis Oppenheim. or Robert Smithson. These works should also be understood in the context of an increasing awareness of ecological issues that began with the publication of Rachel Garson’s Silent Spring (1962), continued 7.1th the 1 ack-to-the-land movement, and culminated in rhe first Earth Day in April 1970. In I ->'■ > - rL-,. Regan a series of rigid polyurethane foam 7.:;- :: Jig. 16 . After farming the shapes, he ■.■.wild cut into the polyurethane to reveal the very jev -.I-like inner cellular iructure and colors. (Other sculptors • ns then th'C. working ’working m in non nontraditional materials included Louise Bourgeon . Eva Hesse. Louise Is'ev. Liand R icliard Stankn wicz. I lie monolithic Totems • v< red both am imt monuments sinh as Stonehenge a . .1.11 as till .etnc.ilily ol the New fork skyline. Unlike the former, however, the Totems rep­ resent the opposite of permanence. Over time, sun­ light has broken down their chemical structure. This self-destructive quality, however, now seems to be a part of their meaning: they have become metaphors of the cycle of birth and decay, .in industrial me­ mento mon. Ephemeral, like the conceptual ocean pieces, thev reflect the values of a civilization that no longer believes in permanence. Shown in 1970 at the Jewish Museum and subse­ quently at the Wichita Art Museum, the Totems re­ ceived mixed critic.il response.' Gordon Brow n found reason to both praise and condemn the work. ' > >ic« works with both intense and muted colors which he shapes and hacks at . . . producing a perfect realiza­ tion of Abstract Expressionism in sculpture. 1 here is no denying that this is an original idea and th it one senses strongh the actions he performed io ereS. In conjunoion with itsrev'vl'itw:!. iIkAViJv'v Xri Masetnn commissioned Sorce to create a pan of Ltcnu 15 �I7H. 16 Tctem. 1969 ate the work, which gives it a living quality.”1’ But Brown had problems with the material itself: "I hon­ estly believe that his sculpture has an ugly shine to it.”1'1 So did Hilton Kramer, who wrote that "Mr. Sorce’s sculpture is something of a puzzlement. He shapes polyurethane foam into fat columnar forms that have all the appearance of giant ceramics. I find it odd that so much technical finesse should be invested in making one material resemble another when there is so little discernible esthetic advantage in the process."11 Sorce. on the other hand, felt that the critics had misunderstood his Totems by failing to differentiate the surface qualities of polyurethane cellular struc­ tures from those of other, more traditional materials. 9. G. B. Gordon Brown , "Beautiful Painting and Sculp­ ture,” Arts Magazine 'April 1970.: 55. 10. Ibid. 11. Hilton Kramer. "Variety Marks 3 I:•Jiibilinn-. at the Jewish Museum." 7h Ara K’d l::iu> March IM, 197(1 : 40. 16 In 1972, Sorce created a number of polyure­ thane sculptures in the courtyard of the Hudson River Museum. Here the installation stressed the interactive nature of the work. Viewers were en­ couraged to move the lightweight pieces around, to construct their own nonstatic environment, to embrace chance and randomness, and thereby to break down the barrier between the object and themselves i a concept explored earlier in < )»<y L pen a Life). This participatory approach, this desire to extend boundaries, and this emphasis on open forms are also found in his assemblages recall Dobyns’s observation) and later in his poh urethane poured pieces. Finally, in encouraging the viewer to assume an active role in the art, this installation implicitly, if nor explicitly, promoted the concept dium. 1 hese experiments led to shaped works and Open 1 orm "antiground’ paintings such as I rtitle.! 5rirr.ro;, 1972 ( olor Plan A . In ihesc worfw. Sorce employed a wide variety of tccli.n.iu.••. in­ cluding gestural brushstrokes and scumbird Inrrs of paint, to appb. polychrome acrylic pigment' onto transparent polyethylene shuts. When dr. he peeled oft the thin, flexible layers of paint Mm. which he then cut into different shapes Overlap­ ping. folding, and cutting the fine livers of pure color, he created painted collages. Typically he would expose prior layer' of paint film and thereby produce an actual, rather than illusionistic. depth. Since the layers were primarily opaque rather than of questioning authority, which was a w idelv held belief at the time. After the Totems, Sorce continued to investi­ gate the aesthetic properties of polyurethane, but now as a painting, rather than a sculptural, me- the work was laminated onto the wooden support using rhoplex. The construction or these Op**1 transparent, they served to rrinforci thr sculptural, low relief quality of the work. When o'lnpUte. Form paintings, therefore involved tw> d»<tiact processes: I the painting stage and 2 the s’1® posing stage. The separation was more tnan om ph one of process; represented Sorce’s assault thr traditional iwav of making a painting m on the which the two step* steps are closely mierrrlated. Having n<> predeteimined ground, the image 'formed its ow n ground organically creating a umr. of image and form According to Sorer hr* intent • >' to unify figure and ground and thereby con­ tinue th' advancement of modern art: T he Im­ pressionists broke up color, ihe Cubists broke up form, the early abstract painters fWasaih Kandinsky. Kasimir .Malevich, and Piel Mondrian' eliminated subject matter I eliminated ground cun'iderations Sorce s desire to further artistic progres' continues i tradition that I. H i wimbrich explored well in his classic. 1952 tssav, "The Renaissance Conception of Artistic Progress and its Consequences." republished .n !Km an f.'or. StuLe; in the Art . ' thr Jfrnaojan., 19ri(> . Thio, m sums ways. Sorce is an exemplar of Modernism s •b-evsion with the new. even at a time when the Concept of the vanguard itself was increasingly C0!1 IS < Sha 1 the WOT rrh fen the uf Mu orb I Shr W 19* �17 1umma Scnrs I'll!, 1980 ese experiments led to shaped works and ply one of process; it represented Sorcc’s assault coming into question by critics and authors such Rockbiimc or I rank Stella, were also explnruiy -b u • I paintings such as L'n- on the traditional way of making a painting in as George Kubler, Hilton Kramer, and Roger canvases. Sorcc’s method of painting was quite dif­ which the two steps are closely’ interrelated. Shattuck.12 rm "antiground -ce. 1972 Color Plate 6). In these works, ployed a wide variety of techniques, in- Having no predetermined ground, the image Throughout the 1970s and '80s Sorce explored ferent. Rather than creating objects, in w.is num in­ terested in deconstructing or breaking down the idea formed its own ground organically creating a unity’ the possibilities of film painting. As he did so the of making a painting. In breaking dow n closed barri­ of image and form. According to Sorce his intent work changed from organic to geometric to paint­ ers. Sorces open, "antiform'’ painting-, demalcnd- sparent polyethylene sheets. When dry, was to unify figure and ground and thereby con­ erly. His palette went from bright colors, organic ized the object and shared iffinities with others in­ off the thin, flexible layers of paint film, tinue the advancement of modern art: “The Im­ forms and irregular shapes, as in Untitled (Scherzo , to volved in process art.' I h's lint of development cul­ estural brushstrokes and scumbled layers to apply polychrome acrylic pigments _ then cut into different shapes. Overlap- pressionists broke up color, the Cubists broke up the monochromatic palette and geometric structure minated when Sorce reintroduced color and a pimt- ling, and cutting the fine layers of pure created painted collages. Typically’ he I form, the early abstract painters (Wassily of polygonal shaped works like The Speed Art erlv, e.xprcssiomstic approach in works such a- Tu Kandinsky, Kasimir Malevich, and Piet Mondrian) Museums Untitled, 1977 [Color Plate 71. Although niina.Sems 17//. 1980, and Matin:, 19ft I. ... J,3C1i r< pre­ ose prior layers of paint film and thereby eliminated subject matter. I eliminated ground con­ other artists, including Elizabeth Murray, Dorothea sents the end of the polygonal paintings 1 i_-. I 7".... I n actual, rather than illusiomstic, depth, siderations.” Sorcc’s desire to further artistic layers were primarily opaque, rather than progress continues a tradition that E. H. Gombrich it, they served to reinforce the sculptural, has explored well in his classic, 1952 essay, “The quality of rhe work. When complete, [ Renaissance Conception of Artistic Progress and vas laminated onto the wooden support its Consequences,” (republished in ,\orm and Form: (. olor Plate 8 . Thereafter, in works like \;eii II 12. Sec for example George Rubier. The Shape of Tune Re­ marks on the History of Things New I favcn’.Yale I’iiiwr.it>. Pre 1962); Hilton Kramer. "The Age of rhe Avant-Garde." Th Age of the Avant-Garde: An Art Chronick of . New plex. The construction of these Open ■ Studies in the Art of the Renaissance, 1966;. Thus, in York: Farrar. Straus and Giroux, 1973'. 3-19; Roger itings, therefore, involved two distinct j: some wavs. ways, Sorce is an exemplar of Modernism’s Shattuck. "The Demon of Originality.” The Innocent L:e. On Modern I ueratiire and the Arts. New York: Farrar Straus Giroux, ' I; the painting stage and > 2, the com ge. The separation was more than sim B obsession with the new, even at a time when the B concept of the vanguard itself was increasingly 1983. he returned to a rectangular cam,r- which served as the support for his “collaged” acnlv Flu.-. C T .r I9«4 ;, 62-81. 13. Robert Morns. one of I' t -ll,..;,-,- of N1 mm,<loni wrote an influenlui wrick "A’lti-I '' '. - . 1968 : 30—33. that qc, ..t:,?n, d -ia-. of die »wmpn<iiH of that acsth, tic. r �> Plate 9], Curiously, his work now developed in the op­ posite direction from the earlier polygonal paintings; that is to say, die paintings increasingly become less expressionistic and more reductive as seen in Untitled (AVS/ Glowing Presence), 1989—92 [Color Plate 10]. In many areas the end of the 1980s saw a general mood of downsizing, a retreat from the exuberances and excesses of the decade. Responding to the re­ trenchment on Wall Street, the art market collapsed, especial!}' in the contemporary area. In the 1990s, Sorce's works have undergone a dramatic shift in scale and technique. Seeking a more intimate engagement with the viewer, he began working exclusively on pa­ per. at first mounting paint film on paper and then working directly on the paper itself. He also began to experiment with a proprietary product called Acryla Weave as his support. In the Schema Series, he reverted to a more geo­ metric, even constructivist aesthetic [Color Plates 11. 12, & 131. In the following year, 1995, he eliminated color altogether and substituted dramatic light-dark IM tenebrism, and mystery in the works from the < .ara vaggio Suite. The mystery is heightened by uncer­ tainty: arc these photographs or paintings? And what do they portray? Some like Double Circles seem to docu­ ment a documentation of an ancient eclipse I olor Plate I5j. Others like Impost and Spring suggest archi­ tectural ruins [Color Plate 17;. Still others like Di­ agonal suggest everything from lunar vehicle tracks to the incised marks associated with Neolithic cave paintings [Color Plate 16j. Overall, however, thet appear like nineteenth-century records oi the arti­ facts from some remote and long gone cult tire, whose meaning or function is now indecipherable. After the restraint of the Caravaggio Series, Sorce's work has undergone an explosion of color ; Color Plate I9j. Using glazing techniques, hatching, and scumbling, while manipulating the surface with inci­ sions and scratches, he has produced small atmo­ spheric, even Tonalist, paintings which glow like fine polished leather. In fact the surfaces appear to have the waxy quality and depth of color associated with encaustics. What might appear, m ... a flat area of color is a.jualk iruh I iiuiim anul- I gam.mon of hues. More t o nih. in works such M I Siam tn Due 1, 1996-97, Sorce has taker mg in wet paint < olor Plan 21 As Anthony Sorce's art ha- evolved. u continuer I to be characterized by progress and inrr It i recent statement, Sorce observed ti to niaking art is formali'ttc: i. the formal elements of art 1 li- :- an nt of tmrn- 1 tiveness, of exploration. In hi- mitun work hr iscov-1 cerned primarilv with matinal- i.sthitic question*. 3 color and light. Nonetheless, his art never becomes I sterile or academic because process and discovery jrr ' for him an Existential metaphor of eternal breons-1 mg, a studs in possibilities. Ju-.t r> the human condi* | tion is not static, but always evoking mJ cn> so has his focus on process process become become sy svnonymou* num dkmis *uh j his content. 14. Anthony S >rcv. ktier .IkcJ Jan :ir. 1 & * �Iht appear, in a reproduction, as ■ actually a rich, luminous amal■orc recently, in works such as 1-9?', Sorcc has taken to “drawllor Plate 211. Is art has evolved, it continues I’ progress and innovation. In a re observed that his “approach lalistic; i.e., a concentration on If art.”1’ His is an art of mvenn. In his mature work he is conmaterials, aesthetic questions, :theless, his art never becomes tause process and discovery are I metaphor of eternal becomlities. Just as the human condialways evolving and changing, cess become synonymous with Iter dated January I d. 1996. ANTHONY SORCE’S RECENT WORK John Yau �~W" n the early 1990s, Anthony Sorce, who had 1 become dissatisfied with the large scale of J- his geometric works [Color Plates 7—10], shifted his focus to a more intimate scale. One suspects that the change was precipitated not only by Sorce’s dissatisfac­ tion with the scale of his own works, which since the mid 1960s had often been both physically large and materially insistent, but by his intention to separate his work from the material excesses of much of the art made in the 1980s. As in his earlier work, Sorce's change in scale necessitated the use of different materials and procedures. It wasn't simply that he was going to make his work smaller but that he was determined to rein­ vent his whole approach to making art. During this period of reconsideration, while working largely on paper, Sorce discovered a durable paper. Acryla Weave, which enabled him to redefine his process, particu­ larly as it involved the way he applied the paint. Acryla Weave is a hybrid material that combines characteristics associated with the more traditional materials of paper and canvas; it is relatively smooth and yet extremely durable. Its surface can both sup­ port acrylic paint and be continually reworked and even scratched and incised. As an artist interested in both painting and sculpture since he was a stu­ dent at Notre Dame, Sorce found thar Acrvl.i Weave enabled him to use various methods to apply and subtract paint, thus developing a physically engag­ ing process. One of the recurring aspects of Sorce s career is his commitment to developing a physi­ cally engaged way of making art which is open to chance. As when he poured polyurethane in the [Color Plate 5 and painted, peeled, and assembled films of acrylic paint in the '70s and '80s ( oh >r Pi ties 6—I0J. Sorce wants to be simultaneoush involved and removed. In this regard, one can say that Sore.A pro­ cesses have something to do with Abstract Expres­ sionism. particularly as it extends out of Pollock's pour­ ing of paint, as well as utilizing asp. cts associated with conceptual an. 21 �J One of Sorce’s reasons for changing his methods around this time may have been the feeling that he was no longer discovering something by using a meth­ odology that had preoccupied him for nearly two decades and that he had exhausted its possibilities. Drawing, he may have believed, would inevitably lead into an area that would enable him to make discover­ ies, as well as consider what avenues he might wish to explore. In this regard, he was clearing the decks and starting over. The works of the past five years are intimate in scale and, like his earlier works, hybrid in form. Al­ though they are done on Acryla Weave, which is tech­ nically a kind of paper, they should be considered as paintings rather than as drawings. Whereas in the geometric paintings Sorce layered different films of paint together, in the recent works he layers, abuts, scratches, and scrapes away areas of color, which is a combination of acrylic gel and dry pigment.The pro­ cess is one of addition, juxtaposition, and subtrac- tion, and thus significantly different from the pro­ cesses he had previously developed, all of which were largely additive. The other significant difference between the work of the past half-decade and what preceded it is Sorce s evident interest in light and its relationship to color. In both the Caravaggio Suite grisaille paintings [Color Plates 14-17] and those using color [Color Plates 18—20] the viewer senses that a dense rich light is suffusing throughout the composition. Here, the analogy the viewer is tempted to make is to light as an immanent presence, as a moment of spiritual realization. And yet, while the temptation is inevi­ table, such readings must also take into account the process of layering Sorce uses, as well as the linear scratches, divisions, and forms that have been made in the surface. The paintings of the last five years can largely be said to belong to one of three groups. In the grisaille paintings, Sorce uses a palette knife and other flat edges to apply the paint medium to rhe Acryla Weave after he has deliberately placid van ous silhouettes beneath it. 1 his method of intoaction between paint and altered surface can !■• seen as extending Max Ernst's use of frott igr tu arrive at an image. In Sorce’s work, the paint regis­ ters the flat object below, thus causing a destabi­ lized, silhouetted image to appear. I he imager destabilized because it is difficult to calculate actly where it ends and the ground begins. \\ hiii rhe image is usually geometric, it neither sepant ■ from nor is subsumed by the ground. From a iistance, it is as if one were looking at the scratche negative of an aerial photograph of a distant pit— Consequently, one can't tell if it is a man-made imK or a natural terrain or both. It is only when one closer to the painting that one realizes that it is ■ photograph but a painting. The result r diw — ing and causes one to question how on whether something is a painting or not. 22 ... 111 painting- lil.i I I • ' < ,1 /1 . .- •<>r. • ,i hi ,h Snrci h>« usis. >n lie mt<> i<J Hi* ■■ liipi.t light ni.f. .' In uses a pal< u<- knifi and appli'. .tin p unt in much same manner .is he d<» » in the gir alii w..rks ' Plates 18 & 201. IIw Jiff.;. 11. ■ : ti..a rs aj'piles trans­ parent films <>l color and then -.tip. •. pirt of th m away. I his c.ur i - the n inainm; 1i i_■ ■ • >1 olea m come i ven mon .iimosphiiic. live r nil is a d< -i.ihili/cvl plain MT.hip between ligun and ground solidm and atmosphere. Images app.at hovt-r within .mJ beneath other images. One r reminded of blurred photographs, as well as dramatic bndsc ipcs. In SnuiK in Due I or ' tri:.... th. thn 1 :: > i] . Sorce both applies thicker lav< rs of color and usecolor to divide the conip out ion into dot in. t geo­ metric areas Color Plates 21 6 22 . Hi then scratches lines into the surface. Causing the color beneath to show through. Rpicallv, the lines are rough and awkward t>-.- . • tmee -if the paint to the instrument - edg. Of t: . rhr •. g f O I a P d fi c b d �i to apply the paint medium to the ter he has deliberately placed varibeneath it. This method of inter­ In paintings like Evening Light or Encounter, in which Sorce focuses on the interrelationship of light and color, he uses a palette knife and applies die paint in much the paint and altered surface can be ig Max Ernst’s use of frottage to e. In Sorce’s work, the paint regis­ same manner as he does in the grisaille works [Color Plates 18 & 20]. The difference is that he applies trans­ parent films of color and then scrapes part of them away. This causes the remaining traces of color to be­ ter below, thus causing a dcstabid image to appear. The image is ause it is difficult to calculate ex- ds and the ground begins. While illy geometric, it neither separates umed by the ground. From a dis­ one were looking at the scratched ial photograph of a distant planet, e can’t tell if it is a man-made image i or both. It is only when one moves ring that one realizes that it is not a i painting. The result is disorient|ne to question how one identifies pg is a painting or not. come even more atmospheric. The result is a destabi­ lized relationship between figure and ground, solidity and atmosphere. Images appear to hover within and beneath other images. One is reminded of blurred photographs, as well as dramatic landscapes. In Siarno in Due I or Offspring, the third group, Sorce both applies thicker layers of color and uses color to divide the composition into distinct geo­ metric areas [Color Plates 21 & 22]. He then scratches lines into the surface, causing rhe color beneath to show through. Typically, the lines arc rough and awkward because of the resistance of the paint to the instrument’s edge. Of the three groups, it is this group in which the surface is most physically insistent. It seems evident that Sorce is after the most diffi­ cult unit)' to achieve, the synthesis of the material (layers of paint) and the spiritual (the presence of everlasting light). The degree to which we feel he is successful depends on our orientation toward spiritual matters and questions such thinking inevitably raises. Is light everlasting or is it another material in a world of things? Sorce’s work seems not to settle into either perceptual category, but rather to address both at the same time. To Sorce’s credit, he doesn’t try to make us sec the work in a narrow, didactic way. Consequently, we sense the artist’s own faith in us as viewers. Since Sorce began working with polyurethane in the late 1960s, he has followed an unpredictable and fruitful course. His commitment to process, how­ ever, is not something we should take for granted, because, in fact, few artists ever live up to the stan­ dards of such a demanding ideal. His incorporation of new techniques and materials has always been di­ rected toward what might be discovered rather than what could be made of them. Sorce’s recent processes have led him to make paint­ ings that seem to be photographs, though not in the usual sense in which we use that word. His "photo­ graphs'’ not only evoke the various worlds that exist beyond what we can see under natural conditions but also underscore the various devices we use to enhance both looking and our memory of looking. His paint­ ings convey the limitedness of our sight by evoking what might exist beyond, within, and beneath what we look at ever)- day. Finally, Sorce is an artist whose concern with materials has never led him to celebrate materiality. In this regard, he has remained faithful to the possibility that art can have a spiritual pres­ ence in the viewer's life, can evoke something we might not otherwise see. And in doing so, Sorce’s art is able to bring us to a moment of wonderment that all too often we have ignored or rejected. �I Drawingfcr The City, 1964 ink on paper 7 x 5'/. 2 Drawing for The City, 1964 ink on paper 7 x 5'/: �I I V �3 ()n:e I pn a Lift. 1’9 A 5 acnhc on canvas 72 ;; 14 I ��•t'-t-0-/0, b\,5 assemblage 53 \ SO \ 16 ��H i. 5 Emergence, J 969 painted rigid polyurethane 70x70 I I ����1 ■ 1 Unlilkd. 1977 acrylic on board 49 x 82 Collection of The Speed Art Miluseum, Louisville, Kentucky ��8 Matins, 1981 rliople.x on wood 61 x 74 ��J ! F I 9 \ ' //.•; . r\s; ik’pk'i <>:i c;.iv SO x (>Q ��. 10 L ntitW 11 5, rhoplex on canvas 90 x CO ��II Schema, Orange 1994, 1994 acrylic gel, dry pigment on Acryla Weave 24 x 18 12 Schema, Blue 1994, 1994 acrylic gel, dry pigment on Acryla Weave 24 x 18 13 Schema, Red 1994, 1994 acrylic gel, dry pigment on Acryla Weave 24 x 18 �������I I �tn:cunkr, 1995 . "r.Ii.icrdic •7'1. dry pigment on Acryh Weave 7-Z. x 7/, ���w■ 1 I yI '■ a. VUvf .1 <■ f I i .' • l ; '■ -n jil •' �( i ( I i I 22 Offspring, 1996—97 acrylic, acrylic gel. dry pigment on paper board 11x8 ��I �'• II ■ r1 ! M ) I �Prelude II, 1997 j(p/^1C ^r.v P,£rnenf °n p.»p»r ���I I �L. •- I. Ever rm, 1997 acrylic, acrylic gel, dry pigment 9x 12 ��I '>', l 1994 acrylic gel. dry pigment on Acryla We.n« Sehetna, 24 x 1H Metaphor, Caravaggio Suite /99t 1995 acrylic gel, dry pigment on Acryl i \V«- iv< 9>/ x 7*/. Private ('ollection Double Circles, (Caravaggio Suite I'J'D 1995 acrylic gel, dry pigment on i Ac ryl i \V< 9/,'x 7‘Z I In* Maslow < .ollcction Diagonal, (Caravaggio Suite /99S 1995 acrylic gel, dry pigment (on Airy la \\ eave 9/. x 7‘Z "The Maslow Collection Impost and Spring, (Caravaggio Suite 197 5 1995 acrylic gel, dry- pigment on Act-,1a Wi o 9/i x 7</2 rite Maslow Collection F-vening Light 1995 acry<ic gel. dr, ■} pigment on Aery Li \\\ ,i\ i n/.x«z ' Courtesy of J, [•>.«n Prats Galien New York < its �Schema, Red 1994 Landscape, Summer 1995 1994 acrylic gel, dry pigment on Acryla Weave 1995 24x18 acrylic gel, dry pigment on Acryla Weave 8%x II/, Private Collection Museum, Louisville, Kentucky Metaphor, Caravaggio Suite 1995 Kergil’s Melody 1997 1995 aaylic gel, dry pigment on Acryla Weave Encounter acrylic, acrylic gel, dry pigment on paper 8/4x Il'/a 1995 Private Collection 91/? x 7'/r acrylic, acrylic gel, dry pigment on Acryla Weave 7'/4 x 7/4 Private Collection Private Collection Double Circles, Caravaggio Suite 1995 t lO/txS'/z Courtesy ofj<[oan Prats Gallery, New York City' 1995 Siamo in Due I aaylic gel, dry pigment on Acryla Weave 9^x7‘/2 1996-97 acrylic, acrylic gel, dry pigment on Acryla Weave The Maslow Collection 10x8 Collection of Jennifer and Steven Holtzman. Diagonal, Caravaggio Suite 1995 New York City Pour Soi 1997-98 acrylic, acrylic gel, dry pigment on paper 9x 12 1995 acrylic gel, dry' pigment on Acryla Weave %xl/2 nee) '1 The Maslow Collection Impost and Spring, Caravaggio Suite 1995 Offspring 1996-97 acrylic, acrylic gel, dry pigment on paper board II x8 Collection of Gerald Himmel, Chicago 1995 acrylic gel, dry’ pigment on Acry’la Weave 9/4 x 7/2 Lcryla Weave The Maslow Collection Evening Light Transposition 1996-97 acrylic, acrylic gel, dry pigment on paper .cryla Weave Courtesy of J< [oan Prats Gallery', New York City Three important paintings shown in this catalogue could not 15 x 10/4 , v , Courtesy ofjoan Prats Gallery, New York City' be included in the exhibiton: Prelude II Color Plate 9, Collection of David and Linda Moscow, C hicago Color Plate 24, Courtesy ofjoan Prats Gallery. New York City 1995 acrylic gel, dry pigment on Acryla Weave I l /r x s yi A Note on the Illustrations 1997 acrylic, acrylic gel, dry p.gmenr on paper Color Plate 27. Courtesy of Joan Prats Gallen. New York City 65 �i i I AWARDS/FELLOWSHIPS 1997 r Faculty Research Award for Painting. I hi- Ri i !:> ir.li > 1996 ANTHONY SORCE EDUCATION Born: 1937 1965 Resides: New York City Study tour Italy and France Faculty Research Award for Painting. I hi KiH.ir.ii Foundation of 1 he (aty University of New \ork 1975 t Faculty Research Award for Painting. I bi Rcscardi 1962 Foundation of I he State University of New 1 ork >i University of Notre Dame, Notre Dame. Indiana: M.F.A. I 1974 1961 University of Notre Dame. Notre Dame. Indiana; B.F.A. ["acuity Research Award for Painting. I h< P< search < foundation of 1 he City University of New York I John Simon Guggenheim Fe llowship 1957 1968 American Academy of Art, Chicago; Diploma I 1964 I 1 rances Award, South Bend Art Center. South Ht rnl Indiana I 1961 I Purchase Prize. Chicago Union League Art Exhibit. Chicago f r 66 1 Foundation of I he < aty I Iniveistty of New York I �awards/fellowships SOLO EXHIBITIONS 1997 1998 Faculty Research Award for Painting, The Research Lance Fung Gallery’, New York City Foundarion of The City University of New York Joan Prats Gallery, New York City 1996 Sordoni Art Gallery, Wilkes University, Wilkes-Barre, 1970 Pennsylvania Jewish Museum, New York City Wichita Art Museum, Wichita, Kansas Faculty Research Award for Painting, The Research Foundation of The City University of New York 1996 Howard Scott/M-I3 Gallery (Project Room), and France 1975 New York City otre Dame, Notre Dame, Indiana; M.F.A. 1986 Faculty Research Award for Painting, The Research Foundation of The City University of New York 1968 ■my of Art. Chicago; Diploma Kalamazoo Institute of Art, Kalamazoo, Michigan O. K. Harris Works of Art, New York City 1965 1974 otre Dame. Notre Dame, Indiana: B.F.A. 1968 Nazareth College of Rochester, Rochester, New York 1966 Faculty Research Award for Painting, The Research Foundation of The State University of New York 1977 O. K. Harris Works of Art, New York City John Simon Guggenheim Fellowship 1964 Frances Award, South Bend Art Center, South Bend, Indiana 1961 Purchase Prize, Chicago Union League Art Exhibit, Chicago 1984 O. K. Harris Works of Art, New York City 1982 O. K. Harris Works of Art, New York City 1981 Kalamazoo College, Kalamazoo, Michigan 1964 Battle Creek Art Center, Battle Creek, Michigan Institute de Cultura Hispanica, Madrid. Spain Nazareth College, Nazareth. Michigan South Bend Art Center, South Bend. Indiana The Gallery, Kalamazoo, Michigan O. K. Harris West, Scottsdale, Arizona 1963 1980 Western Michigan University. Kalamazoo. Michigan O. K. Harris Works of Art, New York City I960 1979 o. K. Harris Works of Art, New York City Artist Guild of Chicago, C hicago Liberty ville Art Center. Libertyville. Illinois <C �I SELECTED GROUP EXHIBITIONS 1997 1985 Intimate Universe (Revisited;, James Howe Fine Arts First Contemporary Art Expo Tokyo, Isetan Gallery, Critic's Choice, Mississippi Museum of Art, Gallery, Kean University. Union, New Jersey’ Intimate Universe (Revisited . Robert Steele Gallery’, Shinjuku, Tokyo, Japan Jackson, Mississippi New York City’ 1995 1983 1977 Art Today, Ward Gallery, Rochester, New York Art on Paper, Weatherspoon Art Gallery, University of O. K. Harris Artists, Zone Art Gallery, North Carolina, Greensboro, North Carolina O. K. Harris Gallery Artists, Root Art Gallery’, Hamilton 1982 College, Clinton, New York O. K. Harris Gallery Artists, Slippery' Rock College Art 1994 Art in the Marker Place, Sawhill Gallery, James Madison Museum, Slippery Rock, Pennsylvania To Enchant (Blue;. Cynthia McCallister and Bixler Gallery, University', Harrisonburg, Virginia New York City Contemporary American Paintings, Myers Fine Arts Gallery', State University College, Plattsburgh, New York 1989 Artists of the 80's: Selected Works from the Maslow O. K. Harris Show, Newark College of Engineering. ( 1 Springfield, Massachusetts Fifty- Works, .AHI Gallery. New York City Small Paintings, O’Hara Gallery, New York City' 1970 1979-80 Newark, New Jersey Second Flint Invitational, Flint Institute of Art. Flint, Michigan 1969 Ivan Karp Presents, Visual Arts Gallery. New 'l ork (a t 1967 New Acquisitions, Kalamazoo Institute of Arts. Kalamazoo, Michigan 1976 Contemporary' Reflections 1975—76, .Aldrich Museum of 1965 Contemporary Art, Ridgefield, Connecticut Alumni Exhibition, University of Notre I Jam-.. South Bend, Indiana 1981 Collection. Sordoni Art Gallen-, Wilkes College, New York Galleries Showcase, Oklahoma Museum of Art, 1972 Wilkes-Barre, Pennsylvania Tulsa, Oklahoma Sculptures for N. Howe Participation Piece/20th Century Sculpture Exhibition, Hudson River Museum, 1980 Michiana Biennial Exhibition, South Bend Art Centei 1986 Yonkers, New York South Bend, Indiana The Artists of O. K. Harris, Helander Gallery, Illusionism, O. K. Harris West, Scottsdale, Arizona Summer Graphic Show, Katona Art Museum, Katona. Michigan Painters and Printmakers, Grand Rapids A Palm Beach, Honda Inauguration Exhibition, The Snite Museum of Art, New York Museum. Grand Rapids. Michigan University' of Notre Dame, South Bend, Indiana Young Printmakers, Pace Graphics, New York City New York Artist, Members Gallery, Albright-Knox Art Gallery, Buffalo, New York 1971 68 r Area Exhibition. Kalamazoo Institute of Arts. Kalamazoo, Michigan 1964-65 i itic s Choice, University of Michigan. Ten Artists, Wesrbcth Galleries, New York City Wcstbcth Artists, Westby Gallery, Glassboro State t ollcge, Ann Arbor, Michigan Glassboro, New Jersey American Interiors, Intern Flushing, New York New A ork s World Fair: Michigan Room. Pavilion * �?pi Museum of Art, 1970 1964 0. K. Harris Show. Newark College of Engineering, Area Exhibition, Kalamazoo Institute of Arts, Newark, New Jersey Kalamazoo, Michigan Second Flint Invitational. Flint Institute of Art, First National Print Exhibit, Western Michigan University, Kalamazoo, Michigan Flinn Michigan poon Art Gallen’. University of Midyear Exhibition, Butler Institute of American Art, boro, North Carolina 1969 rises, Root Art Gallery, Hamilton Ivan Karp Presents. Visual Arts Gallery, New York City State Museum, Springfield, Illinois fork rists. Slippen' Rock College Art Youngstown, Ohio North Mississippi Valley Invitational Exhibition, Illinois 1967 1961 American Watercolor Society Exhibit, National Academy of Design, New York City Liturgical Art Show, University of Illinois, Urbana. Illinois Michiana Biennial Exhibition, South Bend Art Center, South Bend, Indiana Professional Artist Exhibition, Fine Arts Gallen’, Exposition Building, State Fair, Springfield, Illinois Union League Exhibition, Chicago Union League, Chicago New Acquisitions, Kalamazoo Institute of Arts, 1963 I960 Kalamazoo. Michigan Area Exhibition, Kalamazoo Institute of Arts, >ns 1975-76. Aldrich Museum of 1965 Kalamazoo, Michigan Michiana Biennial Exhibition, South Bend Art Center, Professional Artist Exhibition, Fine Arts Gallery. Exposition Building, State Fair, Springfield, Illinois leficld, Connecticut Alumni Exhibition, University of Notre Dame, Pennsylvania South Bend. Indiana Area Exhibition. Kalamazoo Institute of Arts, Participation Piece/20rh Century udson River Museum. Katona Art Museum. Katona, Kalamazoo, Michigan Kalamazoo, Michigan Union League Exhibition, Chicago Union League, Chicago Michiana Biennial Exhibition, South Bend Art Center, Watercolor USA. Springfield Art Museum, South Bend. Indiana Springfield, Missouri 1959 Member Exhibition, Artist Guild of Chicago Gallen-, Chicago Professional Artist Exhibition, Fine Arts Gallery. Exposition Building, State Fair, Springfield. Illinois 1958 Chicago Artists Exhibition, Navy Pier, Chicago Michigan Painters and Printmakers, Grand Rapids Art Member Exhibition, Artist Guild of Chicago Gallen-. Chicago Museum, Grand Rapids, Michigan 1962 Midyear Exhibition, Butler Institute of American Art. 1964-65 Youngstown, Ohio Professional Artist Exhibition, Fine Arts Gallery, Chicago Artists Exhibition. Naw Pier. Chicago Ann Arbor, Michigan Exposition Building. State Fair, Springfield, Illino.s Watercolor Exhibition, Artist Guild of Chicago Gallen'. Union League Exhibition. Chicago Union League. Chicago ■sew 'i orb's World l air: Michigan Room, Pavilion of American Interim's, blushing, New York < Chicago e Graphics, New York City 1957 Critic s Choice. University of Michigan, iallcrics, New York City >y Gallery, Glassboro State College, South Bend, Indiana Three-Man Show, Western Michigan University, Member Exhibition. Artist Guild of Chicago Gallery, Chicago �•i ( I I SELECTED PUBLIC COLLECTIONS SELECTED LITERATURE American Republic Insurance Company, Des Moines, Iowa “Alumni in Art-Ill: Anthony John Sorce.” Notre Dame American Telephone and Telegraph, Long Lines, Virginia Alumnus (February-March 1965): 17. Anthony John Sorce. Kalamazoo, Mich.: Kalamazoo Institute of Arby’s Inc. Becton Dickinson, Franklin Lakes, New Jersey' Best Products, Richmond, Virginia British Airways, New York City' Capital Management International, New York City' Chase Manhattan Bank, New York City Arts, 1968. Anthony Sorce: Exhibition and Commission. Wichita, Kan.: Wichita Art Museum, 1970. “Awards and Prizes.” Art News (May 1968): 8. Birdsell, Roger. “3 Artists Featured in New Exhibit.” The South Bend Tribune (November I, 1964). Episcopal Church Pension Fund, New York City G. B. [Gordon Brown], “Beautiful Painting and Sculpture.” General Reinsurance Corporation Arts Magazine (April 1970): 55. Contemporary Reflections. Ridgefield, Conn.: The Aldrich IBM/The Continental Group, Stamford, Connecticut Jurist Company Inc., New York City' Kalamazoo Institute of Art, Kalamazoo, Michigan Kelly, Warren & Dyre, New York City' The Maslow Collection, Wilkes-Barre, Pennsylvania Owens-Coming Fiberglass Corporation, Toledo, Ohio Penn Central, New York City' Pepsico, Purchase, New York Security’ Pacific National Bank, Los Angeles, California Sherman and Sterling, New York City' Museum of Contemporary Art. 1976. “Exhibit of Anthony Sorce.” Kalamazoo Gazette (April 17, 1964). Guide to Selected Works of Art at TRW’s Headquarters. Cleveland, Ohio: TRW Inc., 1985. Gump, Marilynn. “Artist Concerned with Now.” The Wichita Eagle (January 21, 1970). ----------- . “Boiling Plastic Formula for Art.” The Wichita Eagle (January 24, 1970). The Speed Art Museum, Louisville, Kentucky Criticism Worksheet. Rochester, New York, Nazareth College of Rochester (March 1968). Vesti Trust, Boston, Massachusetts Wichita Art Museum, Wichita, Kansas Gallery' Variety,” The Phoenix Gazette (February’ 14, f 1981). New York Gallery Showcase. Oklahoma City: Oklahoma Art Center, 1981. O’Toole, Judith H. Artists of the 80’s: Selected Worksfrom the Maslow Collection. Wilkes-Barre, Pa.: Sordoni Art Gallery', Wilkes College, 1989. f “A Resourceful Artist.” Notre Dame Alumnus (December 1969): 22. Schjeldahl, Peter. “Designed for Use Rather Than Delectation.” The New York Times (April 5, 1970). I ( 2nd Flint Invitational Exhibition of Contemporary Painting and Sculpture. Flint, Mich.: Flint Institute of Arts, 1969. “Sorce Exhibit” Scarsdale Inquirer (October 16, 1969). r “Sorce Show to Open at Art Center.” Kalamazoo Gazette (June 6, 1966). Watercolor USA. Springfield, Mo.: The Springfield Art Museum, 1962. "In Two Exhibits Art Center Shows Works of Teachers.” Kalamazoo Gazette (June 19, 1966). Isctan Gallery. First Contemporary Art Expo Tokyo. Tokyo: Shinjuku, 1985. Kramer, Hilton. Variety Marks Three Exhibitions at the 70 1970). Miller, Marian. “Art: Light Modulations, Sculpture Lend Hughes, Tom. “Admirations and Such.” Southwind: An Arts TRW Inc., Cleveland, Ohio Upjohn Company, Kalamazoo, Michigan I Jewish Museum,” The New York Times (March 18, [ �I I I ( EXHIBITION UNDERWRITERS ACKNOWLEDGMENTS The artist dedicates this catalogue and exhibition to his wife Gloria, his children Damian, Becket, and Juliet, and his parents Ann and Joseph. This exhibition and catalogue would nor have been possible without the enthusiastic support of Anthony Sorce. Additional thanks to John Beck Stephen Dobyns John and Joy Finlay Lance Fung/Lance Fung Gallery, NYC Pennsylvania Council on the Arts Friends of the Sordoni Art Gallery Charles Pittenger Lisa Parrott Rolfe Brendan Rooney/ Joan Prats Gallery, NYC F.M. Kirby Foundation, Inc. Maslow Lumia Bartorillo Advertising Rosida (Rose) Russotto Robert Schweitzer Howard Scott/M-I3/Howard Scott Gallery, NYC Ann and Joseph Sorcc Gloria, Damian, Becket, and Juliet Sorce Mellon Bank Pennsylvania Council on the Arts The John Sloan Memorial Foundation, Inc. Andrew J. Sordoni, III Wilkes University Joseph M. Sorce Paula Sorce The Speed Art Museum, Louisville, Kentucky SPONSORS Gerald Himmel Jennifer and Steven Holtzman Ev Stone The Business Council Ben Tibbs CBI-Creative Business Interiors Ivan Karp Nancy L. Krueger Earl W. Lehman Michael Walls Mr. and Mrs. David C. Hall John Yau Private Collectors Marquis Art and Frame Dr. Robert J. Heaman Melanie Maslow Lumia The Maslow Collection, Wilkes-Barre, Pennsylvania Marilyn O’Boyle Joseph and Mildred Patera PNC Bank, NA Panzitta Enterprises, Inc. ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1998 March 15 Anthony Sorce: Four Decades Creator An entity primarily responsible for making the resource Anthony Sorce Stanley I. Grand John Yau Stanley I. Grand Date A point or period of time associated with an event in the lifecycle of the resource 1998 March 15 - April 26 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This exhibition and accompanying catalogue represent the first in-depth survey of Anthony Sorce's protean artistic career. At times an innovator, at times a developer, Sorce has consistently experimented with new processes, materials, and aesthetic possibilities. Type The nature or genre of the resource Exhibition program Subject The topic of the resource painting painter Anthony Sorce Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/980d8a3781e9c9494c4646644079c2d3.pdf 8d13b4443f3675dd84b25ef483672078 PDF Text Text ��������������������������� https://omeka.wilkes.edu/omeka/files/original/e983dc6a8bb65e703cf5b13f01dc8d6e.pdf 7ff6384e75027fbfaa4ac288a10d1cfe PDF Text Text -I JOHN WILKES & ISAAC BARRE: ■ • ■: I i Ii I ■ i = i 2 I Politics and Controversy ■■ m Eighteenth Century Graphics SORD GA ZF. ,1 NE962 W54J6 1988 o �JOHN WILKES & ISAAC BARRE Politics and Controversy in Eighteenth Century Graphics Based on Engravings from the McClintock Collection of Wilkes College Sponsored by Lewith & Freeman Real Estate Inc. Marquis Art and Frame Merchants Bank North Morrison's Custom Management Offset Paperback Mfrs., Inc. Pennsylvania Gas and Water Company E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA Sordoni Art Gallery Wilkes-Barre, Pennsylvania June 19 through July 24, 1988 �1 ARCHIVES Exhibition organized by Judith H. O'Toole Annie Bohlin and F. Charles Petrillo, Guest Curators Essays by Harold E. Cox, PhD, and F. Charles Petrillo Catalog design by Annie Bohlin This exhibition is supported in part by a grant from the Pennsylvania Council on the Arts. Copyright by the Sordoni Art Gallery, Wilkes College, 1988 Front cover: Exhibition No. 3 Back cover: Exhibition No. 39 __ TABLE OF CON Lenders to the Exhibition Acknowledgements John Wilkes & Isaac Barre: Politics and Controversy in Ei Graphics, by Harold E. Cox, PhD Wilkes, Barre, and Revolution, by Harold E. Cox, PhD Insulting a King: The Naming of Wilkes-Barre, by F. Cha Illustrations Checklist of the Exhibition �Ill sd by Judith H. O'Toole irles Petrillo, Guest Curators , PhD, and F. Charles Petrillo a by Annie Bohlin >ported in part by a grant nia Council on the Arts. rt Gallery, Wilkes College, 1988 TABLE OF CONTENTS Lenders to the Exhibition........................................................................ .IV Acknowledgements................................................................................ .V John Wilkes & Isaac Barre: Politics and Controversy in Eighteenth Century . .1 Graphics, by Harold E. Cox, PhD.................................................... . .9 Wilkes, Barre, and Revolution, by Harold E. Cox, PhD......................... .17 Insulting a King: The Naming of Wilkes-Barre, by F. Charles Petrillo.... .21 Illustrations............................................................................................ .40 Checklist of the Exhibition.................................................................... Exhibition No. 3 xhibitionNo. 39 Qf). �LENDERS TO THE EXHIBITION ACKNOWLEI American Antiquarian Society, Worcester, Massachusetts William L. Clements Library, The University of Michigan McClintock Collection, Eugene Shedden Farley Library, Wilkes College The New York Public Library I The idea for this exhibition began in 1985 wh tion, Vale of Wyoming: Nineteenth Century Images f we discovered important materials relating to Jot lected by Gilbert S. McClintock and given to Wi Among these were books, letters, and contempon of the two men for whom our city is named. The extraordinary collection. I am indebted to Annie Bohlin and F. Chari: organizing all phases of it. Annie became aware o while working on an inventory of its books in as: with this exhibition and the McClintock Collecti came interested in the historical value of the eng Dr. Harold E. Cox, Professor of History at Wilkes < 18th century references. Professor Cox's essays p: plain the complex images that a modern audienc Charlie's essay describes men and events of th Wilkes-Barre was named. Robert Paustian, Director of the Farley Libra: cial Collections, were helpful in permitting acce: dell, Curator of Prints at The New York Public Li Arts at the American Antiquarian Society; and A liam L. Clements Library, The University of Mi< sources in helping us to locate important prints i loans from their respective institutions. The folic research: Joan Hall Sussler, Curator of Prints, Th tharina Slautterback, Administrative Assistant, Y ant Curator, and Thomas Lange, Associate Curat: brary - Art Collections - Botanical Gardens; Inge The Pierpont Morgan Library, New York; James Library at Cornell University; and Joan Diana, Lil vania State University. In addition, we thank the us suggestions on sources and assistance in locati We are grateful for the grants given in suppo provided funds to match an award from the Penn & Freeman Real Estate Inc., Marquis Art and Fran Management, Offset Paperback Mfrs., Inc., and out their important contributions this catalog wo Judith H. O’To< �I EXHIBITION ircester, Massachusetts University of Michigan Farley Library, Wilkes College c Library ACKNOWLEDGEMENTS The ldea for this exhibition began in 1985 when we were compiling research for the exhibi­ tionVale of Wyoming: Nineteenth Century Images from Campbell's Ledge to Nanticoke. At that time we chscovered important materials relating to John Wilkes and Isaac Barre which had been col­ lected by Gilbert S. McClintock and given to Wilkes College at the time of his death in 1959. Ajnong these were books, letters, and contemporary engravings that reveal the political exploits of the two men for whom our city is named. The majority of items included here are from that extraordinary collection. I am indebted to Annie Bohlin and F. Charles Petrillo for initiating the exhibition and for organizing all phases of it. Annie became aware of the significance of the McClintock Collection while working on an inventory of its books in association with Rita Wolberg, whose assistance with this exhibition and the McClintock Collection is also very much appreciated. Charlie be­ came interested in the historical value of the engravings and subsequently enlisted the help of Dr. Harold E. Cox, Professor of History at Wilkes College, in interpreting their often complicated 18th century references. Professor Cox's essays provide contemporary historical context and ex­ plain the complex images that a modern audience might otherwise find obscure and puzzling. Charlie's essay describes men and events of the Wyoming Valley in that era, and tells how Wilkes-Barre was named. Robert Paustian, Director of the Farley Library, and Lorna Darte, Librarian in charge of Spe­ cial Collections, were helpful in permitting access to the McClintock Collection. Roberta Wad­ dell, Curator of Prints at The New York Public Library; Georgia B. Barnhill, Curator of Graphic Arts at the American Antiquarian Society; and Arlene Shy, Head Reader - Research at the Wil­ liam L. Clements Library, The University of Michigan, were generous with their time and re­ sources in helping us to locate important prints not in the McClintock Collection and to secure loans from their respective institutions. The following people were also gracious in helping our research: Joan Hall Sussler, Curator of Prints, The Lewis Walpole Library, Yale University; Ca­ tharina Slautterback, Administrative Assistant, Yale Center for British Art; Susan Naulty, Assist­ ant Curator, and Thomas Lange, Associate Curator, Rare Book Department, The Huntington Li­ brary - Art Collections - Botanical Gardens; Inge Dupont and the staff of the Reading Room of The Pierpont Morgan Library, New York; James Tyler, Department of Rare Books of the Olin Library at Cornell University; and Joan Diana, Librarian of the Wilkes-Barre campus of Pennsyl­ vania State University. In addition, we thank the many other historians and librarians who gave us suggestions on sources and assistance in locating materials during our research. We are grateful for the grants given in support of this exhibition by the six companies who provided funds to match an award from the Pennsylvania Council on the Arts. They are Lewith & Freeman Real Estate Inc., Marquis Art and Frame, Merchants Bank North, Morrison's Custom Management, Offset Paperback Mfrs., Inc., and Pennsylvania Gas and Water Company. With­ out their important contributions this catalog would not have been possible. Judith H. O'Toole, Director ■ �IV / L K E S & I S A A C B A R R E POLITICS AND CONT EIGHTEENTH CENTUI Exhibition No. 1 The active political life of John Wilkes (1727-1797) ture in England. This was stimulated initially by Sir Josl lished himself as a portrait painter in London in 1753. which rose from about five and one-half pounds for a hi five pounds only seven years later. Reynolds was folio rough (1727-1788) and George Romney (1734-1802). G and landscape painter. He treated nature in an imagii and combined portraiture with landscape background: trait painter, particularly in the late nineteenth cent spread beyond portraits into fields such as historical p; sical mythology and concentrated on classical attire.: gland was rising to a position of dominance in the work by the American Revolution, historical painting becaj pies in the "grand style" were not expanded upon. I current events. The earliest exponent was Edward Penny, who 1 "The Death of Wolfe.” During the French and Indiar Wolfe had led a daring ascent of the Heights of Abra River in September 1759 to capture the city of Queba his French adversary Montcalm had been mortally w battle. Wolfe came to be the symbol of the new Englisl historical event has generated more artistic activity w famous version of "The Death of General Wolfe" wa: born in Springfield, Pennsylvania, although he spent ite painter of King George III, who purchased historii ing more than 34,000 pounds in the process. The We exhibit. Since the average Englishman could not aft lively market developed in engravings copied from t ture netted 6,000 pounds for the engraver and 15,000 ] sum in a time when the working head of a family mij week. An increasing market for engravings and prints of the middle-class, if not the workers. The picture is < included. Directly above Wolfe in the center of the Wolfe's head, is Isaac Barre. Another major contributor to the art of Georgian whose satirical works are a history of contempora moved to prints and discovered the profit potentia among all classes. In a politically charged atmospher cal purposes, and Hogarth became the most famous the son of Israel Wilkes, a malt distiller, had the bene influential and profligate friends who established h bury in 1857. He was an opponent of both the domes! of Bute (1713-1792). the prime minister to King Get minister. Wilkes blamed Bute for blocking Wilkes' h eluding the governorship of Quebec. Early in his po mous political pamphlets which attracted the attenti �s & ISA AC BARRE JOHN WILKES & ISAAC BARRE 1 POLITICS AND CONTROVERSY IN EIGHTEENTH CENTURY GRAPHICS ■ tion No. 1 ; /a z. ///" / Z?z// ’/ft rr/c rnnah°H 7ZsfeV^n/eafS ^eYno^s was followed by such figures as Thomas GainsboA I , ! an George Romney (1734-1802). Gainsborough gained renown as a protrait and landscape painter. He treated nature in an imaginative rather than topographical fashion, an com me portraiture with landscape backgrounds. Romney became a popular English por­ trait painter, particularly in the late nineteenth century. The new enthusiasm for native art spread beyond portraits into fields such as historical painting. Reynolds chose figures from clas­ sical mythology and concentrated on classical attire. Since this was also a period in which England was rising to a position of dominance in the world, only temporarily disrupted in the 1770s by the American Revolution, historical painting became more contemporary. Reynolds' exam­ ples in the grand style were not expanded upon. Rather there was a vogue for paintings of current events. The earliest exponent was Edward Penny, who first attracted attention with his painting "The Death of Wolfe." During the French and Indian War (1754-1763), British General James Wolfe had led a daring ascent of the Heights of Abraham from the banks of the St. Lawrence River in September 1759 to capture the city of Quebec, the key to control of Canada. Wolfe and his French adversary Montcalm had been mortally wounded almost simultaneously during the battle. Wolfe came to be the symbol of the new English imperial position, and probably no single historical event has generated more artistic activity with more wildly varying results. The most famous version of "The Death of General Wolfe" was by Benjamin West (1738-1820), who was bom in Springfield, Pennsylvania, although he spent his career in England. West was the favor­ ite painter of King George III, who purchased historical works from him for forty years, spend­ ing more than 34,000 pounds in the process. The West painting has specific significance to this exhibit. Since the average Englishman could not afford the prices charged for such works, a lively market developed in engravings copied from these pictures. An engraving of West's pic­ ture netted 6,000 pounds for the engraver and 15,000 pounds for the seller by 1760, an incredible sum in a time when the working head of a family might make only ten shillings (half a pound) a week. An increasing market for engravings and prints developed, and art came within the means of the middle-class, if not the workers. The picture is also of interest for the historical personages included. Directly above Wolfe in the center of the picture, with his chin virtually resting on Wolfe's head, is Isaac BarrA Another major contributor to the art of Georgian England was William Hogarth (1697-1764), whose satirical works are a history of contemporary English manners. It was Hogarth who moved to prints and discovered the profit potentials in the wide circulation of cheap prints among all classes. In a politically charged atmosphere, the print soon came to be used for politi­ cal purposes, and Hogarth became the most famous political cartoonist of his age. John Wilkes, the son of Israel Wilkes, a malt distiller, had the benefit of a liberal education and a fraternity of influential and profligate friends who established him as a member of parhament from Aylesbury in 1857. He was an opponent of both the domestic and foreign policy of John Stuart, 3d Earl of Bute (1713-1792), the prime minister to King George III, and England's first Scottish prime minister. Wilkes blamed Bute for blocking Wilkes' hopes for certain political appointments, in­ cluding the governorship of Quebec. Early in his political career, Wilkes had published anony­ mous political pamphlets which attracted the attention of both the public and the King. No. 1 No. 1A No. IB �JOHN WILKES & ISAAC BARRE JOHN WILKES & personal dislike, the fight being initiated by^ a^ti ^d^i^isfration journal North Briton. Wilkes re1762 when ^!lk“MbegqrXaS about to publish a political cartoon in which Wilkes, Churchill, ceived word that Hogarth , Churchill was an Anglican clergyman who became Temple and Pitt would app • debauchery probably surpassed even those of Wilkes' closest friend a s n Richard Temple was a follower of Wilr^^mit^hp^lder^ lTOT^dT^S)3 whohadledthecountry asprimeminister duringthe Seven Years War He esigned ^IpoZn io 1861, being replaced by the Earl of Bute. By this time Pitt was Solved hi^strugglewith the "King's Friends" for control of the government. Temple encoura^etwSkes wrote^toHoga^tlrdeda^g’that the proposed cartoon entitled "The Times," would No. 2 No.2A No. 3 No. 4 No. 5 No. 6 be unfriendly and asked him not to publish it. Hogarth replied that he cartoon contained Pitt and Temple, but not Wilkes and Churchill. Wilkes then stated that attacks on his; friends would result in counter-attacks and followed up his threat with publication of theNorthBn ton No. 17 in September 1762 in which he attacked Hogarth personally. Hogarth was described as having a rancorous and malevolent mind and as being a declining painter. Wilkes made much of Hogarth's new title of "serjeant-painter" to the king, stating that it meant house-painter. Churchill is believed to have made additions and revisions to the text. For some unknown reason Wilkes didn’t think that Hogarth would be offended, but he was mistaken. On 23 April 1763, Wilkes published his famous North Briton No. 45, which attacked the administration and re­ sulted in Wilkes' arrest for libel. On 6 May, Wilkes appeared before a packed court and was discharged on the grounds of parliamentary privilege, as he was an elected member from Ayles­ bury. He was hailed by the crowd with the cry, "Wilkes and Liberty." Hogarth was at the trial and made sketches from which, ten days later, came an unflattering print of Wilkes bearing a liberty cap on a pole. It is worthy of note that the table contains not only a document labeled North Briton No. 45, but also one labeled North Briton No. 17. Hogarth had exacted his revenge. He would get even with Churchill in August when he published a caricature of the former clergyman as a bear in clerical garb. Wilkes was a caricaturist's dream. Joshua Reynolds described him as having a low, short forehead, "shorter and lower" nose, "long and projecting" upper lip, crooked jaw, and "eyes sunken and horribly squinting." Hogarth obviously made the most of what he had to work with. Another source indicates that Wilkes also had very bad teeth in his later years. Hogarth's draw­ ing shows that the deterioration was already setting in. The Hogarth picture spawned a host of copies. These include a French version which prominently shows (and misspells) North Briton No. 17, while hiding No. 45 in the frame of the portrait. Another version, obviously copied from Hogarth, but reversed, shows Wilkes holding a copy of the Magna Carta. A relatively late picture . Wilkes, presumably made when he was Mayor of London in 1775, and containing no political significance, is a softened version of Hogarth, also with the pose reversed. The eyes are not as pronouncedly crossed as m Hogarth and the earlier copies. While the teeth are as bad as ever, the chin has been softened and if an oil painting of Wilkes made in 1779 by John Zoffany is accurate, is much closer to his actual appearance. 1 conJi^a CaricJtu^e could also be turned against the enemies of Wilkes. This reversed OneYof th^m^n J!pr° f ofJl°?arth's original with the addition of Lord Bute to the picture, and his allies Wilkes° i M been c^arges of corruption and bribery against Bute otherwise anonvmou-s arC 1' ^aunc^ec^ a direct attack on Bute to supplement the rSeTshE T r the?°rth Briton- « * likely that the cartoon dales from May to bribe Wlkes Publication of the Hogarth original. In this print, Bute is shown trying tas-*—' But if a round sum in the dark Not offensible, now that barga Asham’d of such meanness di Wilks answer'd thus, as I'm c "Avaunt, vile corrupter, I’ll tai I'll be true to old England, the Wilkes had taken care to attack those around 1 that George III appears in the background express! that the cartoon was commissioned by Wilkes or a ing up Bute's shoulder labeled Temora and Fingal w to Bute's Scottish origins. One James MacPherson epic poems which he had "discovered." Fingal, an Language appeared in 1762. Temora was published fore the appearance of this cartoon. MacPherson w ricated the poems from fragments, and MacPherso The dispute over North Briton No. 45 also gem heroic portrait credited to J. Miller, with approprial appeared on 30 June 1763, six weeks after the Hoga it described Wilkes as "member of parliament for. Great without Title, beyond ft Rich, ev'n when plunder'd, h< Lov’d without Youth, & follow At Home, tho' exiled; free, the The piece was credited to a publisher named A much more flattering portrait than Hogarth's, it cai same enthusiasm with which Wilkes' opponents shifted the body slightly to the front but faithfully Another work published in June 1763 at the pi designed as the frontispiece of a pro-Wilkes pamp ports to show Wilkes in the Tower and bears not th ing the eyes, which both stare steadfastly forward graver was covered in part by the heavy black gr imprisonment. This bears the same similarity to ri The top of the print is captioned A Wit's a Feather, an An honest Man’s the b This was taken from Alexander Pope's Essay o, of fame. Pope divided famous men into two clas heroes, giving little credit to either. The wise mei and showy; the heroes, whom he considers the : honest men is then given, an opinion obviously choice of a selection from An Essay on Man was ire November 1763, Wilkes would come under attack entitled An Essay on Woman and, as a result, wort 1764. By this time, Wilkes had fled to Paris and i cherub in the foreground holds the obligatory lit blade reads, "Let Justice hold the Scale." Perhaps the most widely-copied pro-Wilkes Dutch/English bilingual version was engraved a: Reynolds had described in such uncomplimentary Even the crossed eyes had been downplayed by pl extreme left of the picture is marked Sydney on ( �a ? BARRE vitable that Hogarth would depict t so much of political disputes as of id Hogarth were friendly until June on journal North Briton. Wilkes reirtoon in which Wilkes, Churchill, Anglican clergyman who became irobably surpassed even those of lard Temple was a follower of Wilne minister during the Seven Years Earl of Bute. By this time Pitt was if the government. Temple encour- toon, entitled “The Times," would ied that the cartoon contained Pitt d that attacks on his friends would ication of the North Briton No. 17 in logarth was described as having a ainter. Wilkes made much of Hoat it meant "house-painter." Chure text. For some unknown reason : was mistaken. On 23 April 1763, tacked the administration and re­ ed before a packed court and was /as an elected member from Aylesberty." Hogarth was at the trial and ng print of Wilkes bearing a liberty dy a document labeled North Briton exacted his revenge. He would get e of the former clergyman as a bear cribed him as having a low, short upper lip, crooked jaw, and "eyes most of what he had to work with, in his later years. Hogarth's drawHogarth picture spawned a host of ihows |and misspells) North Briton ler version, obviously copied from igna Carta. A relatively late picture n 1775, and containing no political pose reversed. The eyes are not as hile the teeth are as bad as ever, the n 1779 by John Zoffany is accurate, JOHN WILKES & ISAAC BARRE 3 But if a round sum in the dark you should like Not offensible, now that bargain I'll strike." I Avaunt, vile corrupter, I’ll take no such thing. be true to old England, the Whigs, And the King." that^em^mannpar^n^t.0 those1around the king but not George III directly. The fact that th? rartnnn • £- ack^round exPreSsing dismay about his country would indicate Id by Wllkes or a cIose associate. The two small figures clirnb' F . c jU — 3 Temora and Fingal were a non-too-subtle contemporary reference to Bute s Scottish origins. One James MacPherson had made a career of "translating" Scottish epic poems which he hadI ’discovered." Fingal, an Ancient Epic Poem...translated from the Gaelic Language appeared in 1762. Temora was published the following year, probably only weeks be­ fore the appearance of this cartoon. MacPherson was accused by Samuel Johnson of having fab­ ricated the poems from fragments, and MacPherson never produced the originals. The dispute over North Briton No. 45 also generated other pro-Wilkes materials. A formal, heroic portrait credited to J. Miller, with appropriate accompanying verse from Alexander Pope, appeared on 30 June 1763, six weeks after the Hogarth caricature. Straightforward and unsubtle, it described Wilkes as member of parliament for Aylesbury Bucks" and as being No. 7 Great without Title, beyond fortune bless'd; Rich, ev'n when plunder’d, honour'd, while oppress'd; Lov’d without Youth, & follow'd without Power; At Home, tho' exiled; free, tho' in the Tower. The piece was credited to a publisher named Miller who probably also did the engraving. A much more flattering portrait than Hogarth's, it came to be copied by pro-Wilkes forces with the same enthusiasm with which Wilkes' opponents copied Hogarth's work. A German version shifted the body slightly to the front but faithfully copied the head. Another work published in June 1763 at the peak of the furor over North Briton No. 45 was designed as the frontispiece of a pro-Wilkes pamphlet. Engraved by Bickham, the portrait pur­ ports to show Wilkes in the Tower and bears not the slightest resemblance to the subject, includ­ ing the eyes, which both stare steadfastly forward at the reader. The cavalier attitude of the en­ graver was covered in part by the heavy black grid placed over the picture as a symbol of his imprisonment. This bears the same similarity to real bars as the picture behind does to Wilkes. The top of the print is captioned No. 8 No. 9 * A Wit's a Feather, and a Chief's a Rod; An honest Man's the Noble work of God. enemies of Wilkes. This reversed ddition of Lord Bute to the picture, orruption and bribery against Bute attack on Bute to supplement the ly that the cartoon dates from May . In this print, Bute is shown trying This was taken from Alexander Pope's Essay on Man, and was drawn from Pope's discussion of fame. Pope divided famous men into two classes: wits (meaning wise men in general) and heroes, giving little credit to either. The wise men are compared to feathers, which are flimsy and showy; the heroes, whom he considers the scourges of mankind, to rods. His opinion of honest men is then given, an opinion obviously extended by the artist to cover Wilkes The choice of a selection from An Essay on Man was ironic considering that only five months later, in November 1763, Wilkes would come under attack for publishing an obscene parody of the work entitled An Essay on Woman and, as a result, would be expelled from parliament on 19 January 1764. By this time, Wilkes had fled to Paris and a self-imposed four-year European exile. The cherub in the foreground holds the obligatory liberty cap, while the inscription on the sword ondescend, i his friend, four pen, rite again, eet, ite treat blade reads, "Let Justice hold the Scale." . . , , „ , , D. . Perhaps the most widely-copied pro-Wilkes portrait was> tha painted by Robert Pine. A Dutch/English bilingual version was engraved and published in 1764. The individual whom Reynolds had described in such uncomplimentary terms was, m this portrait, almost handsome. Even the crossed eyes had been downplayed by placing the right eye in shadow. The book m the extreme left of the picture is marked Sydney on Government and refers to the book Discourses No. 10 �field wa ■ headed .. . right side. Tl - ■. . ^SSS&ats^RF ■ No. 11 Nos. 12-16 No. 17 No. 18 Wilkes and Samuel Martin on 16 November 1763, when he reportedly carried the mjury. Wilkes home, possibly saving his life. The duel occurred a ter Martin called Wilkes a cowarc among other slanders, after the publication of North BrttonNo45 During the difficult economic times which Wilkes experienced in the mid-1760s, Cotes handled many of Wilkes financial af­ fairs, at least until Cotes himself went bankrupt. A remarkable reversed copy of the painting, signed by John Philipp, re-reversed all of the print in the picture so that it could still be read. An interesting feature is the cameo in the lower right Almost obscured in the bilingual version, it is clearly shown in this view as is the name "Hampden." This reference to John Hampden, one of the leaders of the opposition to King Char­ les I, suggests a shift from the views of the earlier version of this print. Royalty, apparently, was no longer sacrosanct. Several obvious copies of the head of the Pine painting survive. One is credited to the same "J. Miller" as the print mentioned above. Another copy, credited to E. Bocquet, also credited Pine as the painter of the original, an infrequent practice for engravers of such prints. Wilkes' next period of prominence began with his election as a member of parliament for Middlesex on 28 March 1768, after his return from the European continent. A classical portrait with the inevitable cherub holding a liberty cap and references to John Locke and Algernon Sid­ ney, obviously copied from the Pine portrait, commemorated his election. A broadside illus­ trated with a crude woodcut described the election at Brentford town from a Wilkesite view­ point. Another contained Wilkes' address to the Court of Common Pleas on the day after the election. Wilkes had been convicted of libel for the publication of No. 45 in February 1764. He had not appeared to receive judgment but instead had taken refuge in Paris, and was outlawed by parlia­ ment on 1 November 1764. Much of his time until February 1768 was spent in France and Italy. He surrendered to the outlawry on 29 March 1768, one day after his Middlesex election. The portrait at the top appears based on Miller's 1763 engraving. The usual references were made to Sidney, Lock, Hampden, and the Magna Carta. An engraving showing the court appearance was published in Gentleman's Magazine in May 1768. It was based on the Pine portrait or some copy thereof, but any resemblance to Wilkes was coincidental. Wilkes was committed by Lord Mansfield to the King’s Bench Prison on 27 April. He issued an address to his sympathizers on 5 May, which brought gatherings of his followers to St. George s Field, near the jail. This mob was fired upon by military forces on 10 May, and the event became known as the St. George's Field Massacre. The official responsible was a magistrate of Surrey named Samuel Gilliam, who was tried for murder and, after a long debate, acquitted. Gilliam was apparently a person of limited scholarship, a fact commented upon in the Public verttser or ugust 1768, and reprinted in the Oxford Magazine. The magazine followed up with a cartoon printed about October 1768 entitled "Midas, or the Surrey Justice." Gilliam, with ass s ears, is seated writing a letter which says, "Send me the Ax Re Latin to a Gustis of Pease," WilkpTk,8 vhe n°fte Wh‘Ch r®put®d.ly„had flrst raised questions concerning Gilliam's literacy. lhhkhe mut Ak fMWdlnSlhOpghrU^ and Saying' "Not satisfied with the Murder of the Engcarded conv^f die^tAtd^ the Enghsh Language." A cat lies sleeping under the table on a disthe wall isPa nicmre of a 1e a C°PY °f Fenning’s Spelling Book lies on the table. On weirhlng her viSms a rn I ° 4m8 3 dra™1\sword and a balance, in the scales of which she is "massacre " The XlAnAP k 3 8^e;B°th thlS and the musket lying on the table refer to the "M™n the tittere'errXaTnded deSCribed WUkes only as "the ^at Patriot." The name convictions and on 18 JunTsentenced him t°o twen"^ I"'8 Wi,kes Suil,Y under his Prior pounds, and required posting of bond of lOOOnm?^’T° mOnths lmPr>sonment, fined him 1000 a3tecl)‘s re'easerhis stirred Wilkesto'ano^herPappeal'iohjscons^Uuenls on thesameOdayeMans- ide v . ............................................................................................ likes m . ■ ■ - - Wilkes retun to poli ical irominen ■ i a WJkes. together with .Sejjeam mg Wnkes election m 1768 reflects the fact that 4 February 1769 a. a re; m of near libel -harge= engraving appearing jr. the pro-Wiikes riu-naf Hw- ■ w. : '• a- s wig. and the Duke of Grafton. Both are depicted me in pieces I care not: cut spare, oh spare mv Home who says. They know not what thev do: dence for this either in Law or Equity! I declare government and opponents of Wilkes election, fox, and the Duke of Bedford as a pig. saying. "I Mansfield appears dressed as the Lord Chief Just saying, " If they don't do for him we’ll all have at sion proceedings before Commons while Norton Although V, ilkes was re-elected in three nev declared elected instead, and the returns falsifie Wilkes’ counsel during the disputes of 1763 and liamentary privilege; Glynn and Home manast 1768. Glynn in turn was elected to the other parli in an election marred by rioting and at least one d Brentford who changed his name to Home Tool Tooke. He was the last Anglican clergyman to sit he appears to have used Wilkes and traded on W Home was an extraordinary political organizer i the Bill of Rights. This was a political action con into parliament and to defend him against the got election expenses and 12,000 pounds in general off to a new start. In one election Home was rest bills arranged carriages for transport, and contn The Houston painting dates from 1769. Sign for houses of refreshment. At least four London t Johns.' Horne and Wilkes parted company in 17 tacks on the courts, had been convicted of corner: to allow money to be used for Bingley's support o in protest, left the society and formed a new grou mation, taking the wealthier and more radical V fighting a two-front political war against the po enemies, and against the radicals allied with Hor for sheriff of London, charging him with embezt French jewelers. Other charges included having < givable sin of having had three French servants. The dispute between Horne and Wilkes was Register, dated 1 July 1771. Home, in clerical g throwing books at each other. Home's Speeches c Horne's head. Three documents collectively lab; dlesex have been thrown at Wilkes. Each has or while Wilkes' other foot is on a paper marked H was unsuccessful. Whatever his abilities as an o. sparring. He challenged Wilkes to a duel after 1 Wilkes declined. Wilkes and his new running ma elected as sheriffs of London on 24 July 1771 by a �ISAAC BARRE lished in 1681, in which he upheld the doctrine his also may have been a veiled reference to ey had been expelled from parliament in Octolabeled "Magna Carta, and the letter next beumphrey Cotes was a London wine merchant may have been the second at the duel between 763, when he reportedly carried the injured iccurred after Martin called Wilkes a coward, ■th Briton No. 45. During the difficult economic s, Cotes handled many of Wilkes' financial as­ signed by John Philipp, re-reversed all of the n interesting feature is the cameo in the lower t is clearly shown in this view as is the name e of the leaders of the opposition to King Char­ version of this print. Royalty, apparently, was : painting survive. One is credited to the same er copy, credited to E. Bocquet, also credited iractice for engravers of such prints. th his election as a member of parliament for n the European continent. A classical portrait id references to John Locke and Algernon Sidmmemorated his election. A broadside Uluson at Brentford town from a Wilkesite viewCourt of Common Pleas on the day after the Lica tion of No. 45 in February 1764. He had not :n refuge in Paris, and was outlawed by parlial February 1768 was spent in France and Italy. 58, one day after his Middlesex election. The engraving. The usual references were made to i engraving showing the court appearance was t was based on the Pine portrait or some copy idental. he King's Bench Prison on 27 April. He issued :h brought gatherings of his followers to St. ion by military forces on 10 May, and the event The official responsible was a magistrate of r murder and, after a long debate, acquitted, .arship, a fact commented upon in the Public ■ Oxford Magazine. The magazine followed up i "Midas, or the Surrey Justice." Gilliam, with end me the Ax Re Latin to a Gustis of Pease," ised questions concerning Gilliam's literacy, g, "Not satisfied with the Murder of the EngA cat lies sleeping under the table on a disf Fenning's Spelling Book lies on the table. On d and a balance, in the scales of which she is 1 and the musket lying on the table refer to the Wilkes only as 'Ue great Patriot." The name t lead character in a burletta - a type of farce harden. ie 1768, but held Wilkes guilty under his prior y-two months imprisonment, fined him 1000 ids to guarantee seven years of good behavior eal to his constituents on the same day. Mans- JOHN WILKES & ISAAC BARRE •>» 5 without pi.,." A sevenNo. 19 stylized lion in place of the snake and thistle. P ’ naturaUy. contained a cap of liberty and a Wilkes together with hispolidcal aU^Teri^m gT^^ briyra1pO[Jrait by Richard Houston of ing Wilkes' election in 1768 reflects the fact thm he h-TTh J°hn n °[The notation concern- No. 20 No. 21 denre%n^hiXifhTh yrkn0W T What they do'" and Glynn- who declares, "There is no Precenhf ' dth m LT °fr,EA?nlty! 1 declare 10 be illegal." To the right are members of the government and opponents of Wilkes' election. Included are Lord Holland with the head of a fox, and the Duke of Bedford as a pig, saying, "Let us kill him, or he'll blow our secrets." Lord Mansfield appears dressed as the Lord Chief Justice and with the head and claws of a wolf. He is saying, If they don t do for him, we'll all have at him." Glynn had defended Wilkes in the expul­ sion proceedings before Commons while Norton had served as the prosecutor. Although Wilkes was re-elected in three new elections, his opponent, Colonel Luttrel, was declared elected instead, and the returns falsified by the House of Commons. Glynn had been Wilkes counsel during the disputes of 1763 and had gotten him released on the grounds of par­ liamentary privilege. Glynn and Horne managed Wilkes' election campaign in Middlesex in 1768. Glynn in turn was elected to theother parliamentary seat for Middlesex in December 1768 in an election marred by rioting and at least one death. John Horne was a radical clergyman from Brentford who changed his name to Horne Tooke on acquiring by bequest the estate of a Mr. Tooke. He was the last Anglican clergyman to sit as a member of parliament. A political radical, he appears to have used Wilkes and traded on Wilkes' popularity to gain his own political ends. Horne was an extraordinary political organizer who was behind the Society for the Defence of the Bill of Rights. This was a political action committee formed in February 1769 to get Wilkes into parhament and to defend him against the government. The Society also paid 3000 pounds in election expenses and 12,000 pounds in general debts and provided 1000 pounds to get Wilkes off to a new start. In one election Horne was responsible for distribution of at least 40,000 hand­ bills, arranged carriages for transport, and controlled the crowds of supporters. The Houston painting dates from 1769. Signs based on the painting became popular marks for houses of refreshment. At least four London taverns were so marked and named "The Three Johns." Horne and Wilkes parted company in 1770. A Mr. Bingley, who had printed Wilkes' at­ tacks on the courts, had been convicted of contempt and given a three-year term. Wilkes refused to allow money to be used for Bingley's support on the grounds that he needed it himself. Horne, in protest, left the society and formed a new group known as the Society for Constitutional Infor­ mation, taking the wealthier and more radical Wilkes supporters with him. Wilkes now began fighting a two-front political war against the political conservatives, who were his traditional enemies, and against the radicals allied with Horne as well. Horne opposed Wilkes when he ran for sheriff of London, charging him with embezzling foundling hospital funds and of swindling French jewelers. Other charges included having drunk claret wine while in prison and the unfor­ givable sin of having had three French servants. The dispute between Horne and Wilkes was commemorated in an engraving for the Political Register, dated 1 July 1771. Horne, in clerical garb, and Wilkes, dressed as an aiderman, are throwing books at each other. Horne's Speeches at Mile End, thrown by Wilkes, has just missed Horne's head. Three documents collectively labeled Wilkes's Addresses to the Freeholders of Mid­ dlesex have been thrown at Wilkes. Each has one foot on a book labeled Political Connections, while Wilkes' other foot is on a paper marked Home's Letter. Horne's campaign against Wilkes was unsuccessful. Whatever his abilities as an organizer, he was no match for Wilkes in verbal sparring. He challenged Wilkes to a duel after Wilkes disproved many of his earlier charges. Wilkes declined. Wilkes and his new running mate, a rich merchant named Frederick Bull, were elected as sheriffs of London on 24 July 1771 by a wide margin. The two spent their year's term in No. 26 No. 22 No. 23 �6 No. 24 IS A AC BARRE JOHN WILKES & , U the oenal system and Wilkes at the end of his term proposed an attempt to reduce the abuses otnep ' nishment for many inferior crimes." This would "a revision of those laws which ini P be cted< Wilkes' election was not universally not happen for anoth,ei: f°r/'Tatriotick Meteors" was first printed in the London Magazine for j approved. A cartoon labeled ratrio htical downfall. Three heads, their necks decorated November 1771, which predicted VV £drawn int0 the jaws of a hippopotamus labeled "The enemies in 1772 and 17/4 e No. 25 October 1774, and his new office was commemorated by a ™°P^ “S™ sJm.intaiaed a love o( eo.e,Hie No. 27 Nos. 28-30 scribed as "the late Pope's nephew. ir.TArii , . , Following his term as mayor (he was not eligible to succeed himself) Wilkes concentrated on his parliamentary duties. He remained a member of parliament from Middlesex until 1790 when he did not seek re-election. As a supporter of the Rockingham whigs and later of William Pitt the younger, Wilkes remained a reformer but achieved a measure of respectability which he had not previously enjoyed. Even George III, who had spent many of the earlier years trying to block his efforts to achieve office, was reconciled with Wilkes. Wilkes' term as Lord Mayor coincided with the early events of the American Revolution, and in April 1775, Wilkes presented to the King a remonstrance in favor of the American colonies. Wilkes acquitted himself well on this occasion, and George III confessed that he had never known so well-bred a Lord Mayor. Wilkes had been long estranged from his wife, Mary Mead, and he shared his later years with their daughter Polly, who never married. Polly performed the duties of "lady mayoress" during Wilkes' term as Lord Mayor, her continental education helping to make her the perfect hostess. The last oil portrait of Wilkes, painted by John Zoffany in 1799, shows Wilkes seated looking up at Polly. This was the painting from which most of the later prints of Wilkes were copied. An engraving by Freeman, printed in 1804, left the pose unchanged but made Wilkes look consider­ ably younger than in the painting. Another undated picture shows Wilkes looking forward and is apparently a reversal based on the Zoffany portrait. Another view, published on 17 June 1782 by C. Bretherton, shows an aging, toothless Wilkes dressed in what appears to be the cloak of a co onel of militia. He had been similarly attired in the Zoffany portrait and in a caricature printed on the occasion of his death in 1797. f. ? fiS laaSt Yearn he attemPted repeatedly to find a country home on the Isle of Wight. He fm,r+Ln Und a,Sma11 pr,operty overlooking the sea which he called his "villakin." He secured a j .i d'^’d^r e^Se aRd ?Pent at ^ast.two months a year during the summer there until his Nos. 31-36 vent ana was ouriea at Grosvenor Chapel. ovenhTve^.ToJeofthlr KUreS °f ^s published both in England and on the continent Included in the exhibition arem h n° dlsJ:ern^le relation to the portraits already mentioned. Magna Carta theme and two forXexa“Ple® of work by the prolific J. Miller, two more with the in 1769. He had been elected to that nf?rU1*S’ T°ne “ French shows Wilkes as a London aiderman ent resemblance to the subject. Another6JanuaO'- The head is flattering and bears little apparother view of Wilkes Theonlvide if ■' aPParently also French, bears little resemblance to any and the ubiquitous Magna^ are ‘he name in the title, the hairstyle with the progress of Wilkes' career' ?i°nS deal with incidents not directly involved mures career. One of these was entitled "The Times," reflecting the title of JOHN \ Hogarth's famous cartoon of 176 an actual event which had taken i his distorted appearance and de Brewer states, "Physical afflict! again a characteristic of fools, w himself, like the court fool, as a s gifted with the acute perception poraries actually referred to W masques, complete with motley larnite [Wilkes] had two rivals. C as the second personage], and a guise, the other half in the Scotti the cartoon. The totals on the tv loser had been declared the wim ing of bribes and irregular judic fleeted the numerous petitions v appears on the left side of the ve Isaac Barre was a much less smaller group of prints exists. B. Wolfe in his arms as a surgeon at found in the McClintock Collec occasion was the crisis in the No against the corruption of the go Wilkesite movement of a deca< property. The objections to high corrupt parliament caused the j was a proposal which called for i by Commons. This was Barre's fied by the presence of copies c with the Commission of Accor larger portrait of Barre, publisf Accounts bill. The third Barre item in the Lord," recommending a relation that Barre had served under the Lord Shelburne, who had bee: known in later years as Barre's based on the contents of the k which were not kept due to his land from October 1766 to Augi tary of State for the Southern E This would probably date the k The collapse of the North n in which Barre appears, usually fied only by the context of the Political Mirror, or an Exhibitic the numerous political periodic by demons. Lord Bute, attired i: he has been riding. Barrd is th inscribed "Bill for the Examina been Enormous & Shameful.” 1 the Army budget and affirming out some three years earlier. 1 background and saying, "Yorn identification is uncertain, the shaped head which characters The fall of the North minis �4 .A C BARRE d Wilkes at the end of his term proposed nt for many inferior crimes." This would ed, Wilkes' election was not universally :irst printed in the London Magazine for 1 nfall. Three heads, their necks decorated the jaws of a hippopotamus labeled "The he outgoing Lord Mayor, and a bull, repwith Wilkes. Resting on the gown lying staves. at remained to plague his numerous enelayor of London but was blocked by his :d by a majority of the voters. He finally his new office was commemorated by a inning another election in which he and arliament as a member for Middlesex in maintained a love of entertainment. His oably not in the manner depicted in one >. It was noted that "the food was much s." There was dancing until 3 A.M. and a ding Boswell and Prince Pallavinci, de­ succeed himself) Wilkes concentrated on liament from Middlesex until 1790 when igham whigs and later of William Pitt the iasure of respectability which he had not my of the earlier years trying to block his Wilkes' term as Lord Mayor coincided 1 in April 1775, Wilkes presented to the s. Wilkes acquitted himself well on this lown so well-bred a Lord Mayor. Wilkes ind he shared his later years with their the duties of "lady mayoress" during helping to make her the perfect hostess, in 1799, shows Wilkes seated looking up : later prints of Wilkes were copied. An changed but made Wilkes look considerure shows Wilkes looking forward and is ither view, published on 17 June 1782 by ed in what appears to be the cloak of a iffany portrait and in a caricature printed i country home on the Isle of Wight. He ch he called his "villakin." He secured a fear during the summer there until his o town houses in London. The print apith on 26 December 1797. He died insol- :d both in England and on the continent tion to the portraits already mentioned, y the prolific J. Miller, two more with the nch shows Wilkes as a London aiderman le head is flattering and bears little apparo French, bears little resemblance to any cs are the name in the title, the hair style deal with incidents not directly involved ititled "The Times," reflecting the title of JOHN WILKES & ISAAC BARRE 7 “nTtualUent0wMchhad taVe^place onTnecembS 1769 aTaS and.pUIrPort,ed his distorted appearance and delighted in plavine the role of tk as<?ue i?LlncolnfWllkes”s^d Brewer states, "Physical afflicting was tra^X^ X'self CJkeatCheerco t f f?°1S' Was tO claim hirnse " He certainly saw aiftpd wi?h th^rXrt f 1 ar a Sp(ecial*y hcensed critic and, to his followers at least, he seemed nn^ri^ roff fP/10urHten attributed t0 the simpleton, madman, or oddity. Contem­ poraries actually referred to Wilkes as a political jester. He became a regular character at masques, complete with motley and erratic behaviour to match. This so-called political Bed­ lamite [Wilkes] had two rivals. One appeared as a squinting Aiderman, [with Wilkes as himself as the second personage], and a third dressed as 'The Times', with half of his dress in Wilkite guise, t e o her half in the Scottish manner." The last was supposed to have been the model for the cartoon. The totals on the two arms indicate the results of the recent election in which the loser had been declared the winner over Wilkes. The items on the figure's right side were a listmg of bribes and irregular judicial actions taken by the group in power. Those on the left re­ flected the numerous petitions which had been submitted on behalf of Wilkes. The numeral 45 appears on the left side of the vest and as the winning number on the lottery ticket. Isaac Barre was a much less prominent political figure than Wilkes and a correspondingly smaller group of prints exists. Barrd is shown in West's painting "The Death of Wolfe" holding Wolfe in his arms as a surgeon attends to the fatally wounded general. T\vo other prints are to be found in the McClintock Collection. One appeared in the London Magazine for May 1780. The occasion was the crisis in the North ministry which peaked in early 1780. A popular resentment against the corruption of the government arose towards the end of 1779 which resembled the Wilkesite movement of a decade before, but included many men of great respectability and property. The objections to high taxes, excessive power in the hands of the king, and a venal and corrupt parliament caused the parliamentary opposition to join the cause. Barry's contribution was a proposal which called for a commission to examine the public accounts, which was passed by Commons. This was Barre's major contribution to British politics. Just as Wilkes was identi­ fied by the presence of copies of the Magna Carta in his pictures, Barr^ came to be associated with the Commission of Accounts. While the 1780 picture has no political commentary, the larger portrait of Barre, published in 1787, shows Barr6 holding a copy of the Commission of Accounts bill. The third Band item in the McClintock Collection is an undated letter, addressed to "My Lord," recommending a relation, Lieutenant Isaac Phipps, for consideration. The letter indicates that Barre had served under the addressee in North America. This indicates that the letter was to Lord Shelburne, who had been Band's commander in the Quebec campaign and was wellknown in later years as Barre's political patron. An approximate date can also be determined, based on the contents of the letter. Lord Bristol is noted as having made promises to Phipps which were not kept due to his resignation from office. Bristol served as Lord Lieutenant of Ire­ land from October 1766 to August 1767, when he resigned. Shelburne was then serving as Secre­ tary of State for the Southern Department, a position which he would hold until October 1768. This would probably date the letter in the fall of 1767. The collapse of the North ministry in 1782 was the occasion for a flurry of political cartoons in which Barre appears, usually in the role of supporting actor, and sometimes he can be identi­ fied only by the context of the cartoon or the resemblance of a caricature to his portrait. "The Political Mirror, or an Exhibition of Ministers for May 1782" was probably published in one of the numerous political periodicals. Members of the North ministry are falling into a pit, clutched by demons. Lord Bute, attired in Scottish dress, is about to fall from the ac ' o a wi c on w om he has been riding. Band is the fifth figure from the right in the Picture, holding a document inscribed "Bill for the Examination of Accounts" and declaring Your Army Expenditures have been Enormous & Shameful." This refers to a speech made by Barre on 26 April 1782 attacking the Army budget and affirming his position as a watchdog o the treasury which he had staked out some three years earlier. This print also appears to include Wilkes standing in the center background and saying, "Your tax on Women Servants fills our Streets with Whores. While identification is uncertain, the figure seems to have the distinctive hair style and pecuharlyShaPTehehfeandoTflie^ort^mhiisflywas^e'^ccasion for another somewhat cluttered cartoon by No. 37 & ■ No. 38 No. 39 No. 40 No. 41 �8 JOHN ..... occaston, the tne nbejsoHh this WILKES & ISAAC BARRE JO HN W down aR ^h m No. -C K «S.X\fngh"HX "“his "john Wta SS " °P^° the viewer's left recognizable by the crossed eyes. The person next to Wilkes on the iewer s‘flgh^ Lofd Shelburne. While Gillray took some liberties with the appe“! No. 44 No. 43 Ince of his subjects in this cartoon, the shorter of the two individuals standing behind Shelburne appears to be Barrh. An engraving of Barn* published by C. Bretherton on 17 June 1782 is a com­ panion piece to the engraving of Wilkes which was published on the same day. Like the picture of Wilkes, it is an unflattering caricature. The new ministry was headed by Lord Rockingham, who died on 1 July 1782. Since Shelburne had been in charge of colonial affairs, he had been pursuing peace with the American colonies. Fox, on the other hand, had become secretary of state for foreign affairs and was in charge of ending the war with France. Since the two had conflicting views of how best to end the war and Fox had powerful political ambitions, disputes were inevitable. When Rockingham died, Shelburne was appointed by George III to head the government and Fox resigned. James Gillray was not a friend of Shelburne, as is demonstrated in the cartoon "Jove in his Chair" pub­ lished on 11 September 1782. Shelburne in a triumphal car is drawn by two decrepit asses bear­ ing the faces of John Dunning (Lord Ashburton), an opponent of North and a member of both the Rockingham and Shelburne cabinets, and General Henry Conway, a long-time enemy of North and his friends. The rear footman is William Pitt the younger, the chancellor of the exchequer in the new ministry. In the front of the parade as a running footman is Barre wearing an unhappy expression. In actuality Barrt* was slowly advancing his political career. He had served as trea­ surer of the navy under Rockingham, and he became paymaster-general under Shelburne. But any prospects of further advancement were cut off shortly thereafter when Barre became com­ pletely blind. WILKES, I Among the legacies of the Am commemorate those who presun generals, American political figun categorization and whose influen pantheon of the champions of libe England are more obscure. Includ the city of Wilkes-Barre was nam< There is ample evidence that Americans. At least one other city tury England's most controversi; name being given to a city in Verr This may be explained by Barre's glanders moved to commemorate gland, but they were also disposec from the French threat. Pinning down exactly what V dence is an extremely difficult ta England, his political career was i political turmoil surrounding the his career was in decline by the ti: Barre close political allies. Both ' sional appearance on the same sic convenience than a demonstratio Wilkes was a political symbo nents, and Wilkes' skills as a dem, Wilkes' role in George Ill's Engla the time. George III has never r viewed with the same lack of en Emperor Nero. In his own way, trained to succeed his grandfathe but thirteen years of age. He w; widely read but who had only lir became his tutor and his mother' a conviction that British politics v the country by becoming chief e> good and great Prince born in a f freedom, and glory’, even though During his career, George ti grandfather on the throne, he iss ticed what he preached. He was who bore him fifteen children. TI produced an illegitimate child. C Gainesborough because he disap quiet evenings at home to elabor larly astronomy, and amassed a f terized as the first Victorian and dullness. It was not until after th admiration of the English people �WILKES & IS A A C BARRE led "Banco to the Knave" and published on 12 April 1782. On ; old and new ministries surround a gaming table. Lord North in ble placed his cards down saying, "It's all over.” To the viewer's 3-1806), who at that moment was in the opposition and who was y's cartoons by a fox's head, saying, "Gentlemen the Bank is j at the same hour." No less than twenty-two members of the iting, "Huzza." This group includes John Wilkes seated at the lizable by the crossed eyes. The person next to Wilkes on the I Shelburne. While Gillray took some liberties with the appearn, the shorter of the two individuals standing behind Shelburne g of Barre published by C. Brethertonon 17 June 1782 is a comWilkes which was published on the same day. Like the picture ricature. ded by Lord Rockingham, who died on 1 July 1782. Since colonial affairs, he had been pursuing peace with the American 1, had become secretary’ of state for foreign affairs and was in ince. Since the two had conflicting Hews of how best to end the ical ambitions, disputes were inevitable. When Rockingham iy George IH to head the government and Fox resigned. James true, as is demonstrated in the cartoon "Jove in his Chair” pubdburne in a triumphal car is drawn by two decrepit asses bear­ ed Ashburton), an opponent of North and a member of both the nets, and General Henry Conway, a long-time enemy’ of North i is William Pitt the younger, the chancellor of the exchequer in the parade as a running footman is Barre wearing an unhappy is slowly advancing his political career. He had served as treatiam, and he became paymaster-general under Shelburne. But ment were cut off shortly thereafter when Barre became com- JOHN WILKES & ISAAC BARRE 9 WILKES, BARRE, AND REVOLUTION comm" mom?ee thSe wh^ p^s^H^m^Americln Menende ^T*™11036. na]m ,es cXToriza^tto eriC T P?Utical fi&ures- and some, like the ubiquitous Benjam^Franklimwh^defy Whose “c r!nCe encomPassed a wide range of fields. Also included in the E , , c a™Plons of liberty are individuals whose contributions to the separation from England are more obscure. Included in this group are the two English political figures for whom the city of Wilkes-Barre was named, John Wilkes and Isaac Barr^. There is ample evidence that both Wilkes and Barrd enjoyed the respect of revolutionary Americans. At least one other city, Wilkesboro, North Carolina, was named for one of 18th-cen­ tury England s most controversial political figures. Barre enjoyed even more popularity, his name being given to a city in Vermont, two towns in Massachusetts, and a village in New York. This may be explained by Barre's involvement in the Battle of Quebec. Not only were New En­ glanders moved to commemorate his somewhat limited activities as a political dissenter in En­ gland, but they were also disposed to recognize an individual who had helped free New England from the French threat. Pinning down exactly what Wilkes and Barre did which contributed to American indepen­ dence is an extremely difficult task. While Barrd was a member of the House of Commons in England, his political career was relatively uninspired. Even though Wilkes was at the center of political turmoil surrounding the political struggle in England in the late 1760s and early 1770s, his career was in decline by the time that the American Revolution began. Nor were Wilkes and Barre close political allies. Both were products of the English political system and their occa­ sional appearance on the same side of an issue was more a case of happenstance or a marriage of convenience than a demonstration of a strong alliance against privilege or political corruption. Wilkes was a political symbol. The accidents of history, the ineptitude of his political oppo­ nents, and Wilkes' skills as a demagogue brought him to a position of prominence. To understand Wilkes' role in George Ill's England, one must first examine the state of politics in the country at the time. George III has never received a particularly good press in the United States, being viewed with the same lack of enthusiasm as a medieval monk would view the memory of the Emperor Nero. In his own way, however, George was a remarkable individual. He had been trained to succeed his grandfather as king after the death of his father in 1751 when George was but thirteen years of age. He was seventeen when Lord Bute, a Scottish nobleman who was widely read but who had only limited experience with the rough and tumble of British politics, became his tutor and his mother's political advisor. Bute gave George a strong sense of morality, a conviction that British politics was rotten to the core, and the belief that only George could save the country by becoming chief executive in fact as well as in name. As George would write, "No good and great Prince born in a free country will ever despair of restoring his country to virtue, freedom and glory, even though he mounts the Throne in the most corrupted of times. During his career, George tried to set an example for his subjects. When he replaced his grandfather on the throne, he issued royal proclamations against vice and immorality and prac­ ticed what he preached. He was loyal to his wife, Princess Charlotte of Mecklenberg-Strehtz, who bore him fifteen children. There were no royal mistresses and no evidence that George ever produced an illegitimate child. On one occasion, the King refused to sit for a portrait by Thomas dullness It was not until after the American Revolution that his personal qualities attracted the admiration of the English people. - �10 JOHN JOHN WILKES & IS tomed to rule without interfe , George became king, he appointed Bute as one of the for most of the PrevI0“s ^had political ambitions and hoped to displace the Whig ministers or two secretaries of state. B d chief whig leaders, William Pitt and Newcasto become the P°wer bJ> d th ^h masterful politician and the most skilled «»= go™™™-' i* °bj Unfortunately, this was easier said than done. England in 1762 was not a representative deU 1 rather was ruled by a small oligarchy. Scotland was represented by forty-five members of the House of Commons. Out of a population of about one and one-half million these forty-five seats were elected by a total of 3963 voters. The common Englishman had little faith in the government and his faith lessened when Bute imposed, a tax on cider to balance the budget. The population of London made a hero of Pitt and attacked Bute s carnage in the streets, fright­ ening Bute into resigning from the government in April 1763. There was no suitable alternative. George Grenville was followed in July 1765 by the Marquis of Rockingham, the former wanting too much personal power, the latter being unable to exercise what he had. In July 1766, George tried bringing back William Pitt to rouse the country. However, Pitt was not the consummate politician of a few years previously. He accepted a peerage, weakening his political position, then became a recluse, leaving the cabinet members to fight for power among themselves. In November 1768, he retired from the government, leaving the Duke of Grafton, his second-incommand as the unquestioned leader of the government. Unfortunately, Grafton preferred his mistress and horses to running a government. It was not until 1770, when Lord North became first lord of the treasury, that some measure of stability was achieved. North remained in office for twelve years. A seasoned politician uncommitted to any faction in the increasingly frag­ mented English political arena, he became dependent upon the King for guidance and support, which benefited neither party. The results of George Ill's early political activities thus were a period of instability which created both political and social turmoil in England and contributed to the coming of the American Revolution. JOHN WILKES Wilkes was a product of this turmoil. The son of a well-to-do distiller, Wilkes received a good education, including; time at the University of Leyden and travelling in the Rhineland. At the behest of his father Wilkes married Mary Mead, the daughter of a wealthy London grocer. The mnthpF Pir0V1hhlm rth r11 eState m A7IesburY with an income of 700 pounds a year. His XannrX wf^°f °T° P°Unds' H°Wever' WUkes' Personal habits met with the able income but BE— a seParation was arranged, leaving Wilkes with a comfort- ambassador to the Ottoman hi? M* appointmeni either as Wilkes spread the blame around^ fe t tKtt had WaS forthcom^ a"d blamed Lord Bute and he beean hU I ltt had not done enough for him, but he primarily Bute's foreign policy. The attack was F u p°htlcal Polemicist in 1762 with an attack on novelist and journalist, who defended bX" by^°bias Sm°Hett (1721-1771), a surgeon turned Lord Temple, Wilkes now began an inH-Bv “ publlcat,on called the True Briton. Encouraged by number of which appeared on 5 lune 17r?CTiin^nt Pubbcat>on called the North Briton, the first J me iAiZ. 1 he journal fit well in London's political environ- ment. The city had fourteen newspapers, four of whi and a continual flood of political pamphlets. Most of diatribes. As Lord North would comment, "Libels 1 writing, printing, and reading of our time."' Even in ti his mark. His savage attacks on Bute and his associate taste, even by 18th-century' British journalistic standa fought a duel over one of his charges, and capped his < No. 45 on 23 April 1763. In this he accused the King of ing the recent (and unpopular) peace treaty between "honorable to my crown and beneficial to my people The North Briton was published anonymously bu rant for seditious libel. The legality of such a warrant into a popular hero overnight. Lord Temple, as lord-lit by the King to cancel Wilkes' militia commission. V, prisoned in the Tower; he was released on grounds i The experience did nothing to chasten Wilkes, who d< of the secretaries of state, to a duel. This was prevent! August while Wilkes was in France. Egremont's sue Earl of Sandwich, who with Wilkes had been a mem Francis, whose nightly orgies on the site of the forme of the Hell-Fire Club. However, in the British politics interfere with political advantage. Wilkes returned t ber 1763 published North Briton No. 46, resuming h mediately revealed a poem entitled "An Essay on W parently had been written by Wilkes' dead frienc Canterbury. It appears to have been updated with ti printers' depositions it had been printed by Wilkes' < ber, only three days after the appearance of the new. House of Lords attack the "Essay" as an obscene « was) and a breach of privilege; Commons resolved t lege. Wilkes was seriously wounded in a duel on 1 secretary of state who slandered Wilkes, but Wilke by issuing a reprint of the entire North Briton. Then h to Paris. He carried on a running battle in absentia pelled from the former and convicted and outlawed When Rockingham came to power in 1765, Wi obtaining a pardon and position or pension, but he v ber 1766, but he would not deal with Chatham (Pisatisfaction from Grafton. Wilkes appeared yet a th ment unsuccessfully in London, then secured a se tempestuous time in London. The winter had been was frozen over. There had been considerable econ don had opened a subscription for the relief of the risen sharply in the new year. A number of Industrie weavers, coal-heavers, hatters and tailors. In shod ernment tendencies was well underway when Wil with the government made him a popular figure ar of celebration and rioting. According to the Annual the rabble was very tumultuous; somi Wilkes having put out lights, the mob pa west, obliging everybody to illuminate < as did not do it immediately. They den Bute and many other gentlemen and streets of both cities, London and Westr Wilkes' election caused great concern within 1 between those who wished to bring Wilkes to a �;.4AC BAR RE tate of virtue created great political turmoil lanted German princes who had been conv The so-called Whigs had become accuscastle for example, having held high office came'king, he appointed Bute as one of the nd hoped to displace the Whig ministers or >f Whi° leaders, William Pitt and Newcasst masterful politician and the most skilled leorge now felt in a position to achieve his gland in 1762 was not a representative def. Scotland was represented by forty-five on of about one and one-half million, these The common Englishman had little faith in posed a tax on cider to balance the budget, acked Bute's carriage in the streets, frightril 1763. There was no suitable alternative, arquis of Rockingham, the former wanting ixercise what he had. In July 1766, George f. However, Pitt was not the consummate peerage, weakening his political position, 5 to fight for power among themselves. In aving the Duke of Grafton, his second-inlent. Unfortunately Grafton preferred his not until 1770, when Lord North became ty was achieved. North remained in office d to any faction in the increasingly fragt upon the King for guidance and support, : Ill’s early political activities thus were a social turmoil in England and contributed well-to-do distiller, Wilkes received a good :n and travelling in the Rhineland. At the daughter of a wealthy London grocer. The vith an income of 700 pounds a year. His ever, Wilkes' personal habits met with the arranged, leaving Wilkes with a comfortth his style of living and his political ambiigh sheriff of Buckinghamshire. The same rwick-upon-Tweed, as he was unable to tation of voters. By an arrangement with ons from Aylesbury in 1757. The two conthe seat in the general election of 1761. stablishment. He supported Pitt in parlia>le to establish the Bucks militia, being apfor his loyalty by appointment either as 3 Quebec. Neither was forthcoming and not done enough for him, but he primarily teal polemicist in 1762 with an attack on tas mollett (1721-1771), a surgeon turned on called the Ihre Briton. Encouraged by 'ubhcation called the North Briton, the first 1 ht well m London's political environ- JOHN WILKES & ISAAC BARRE 11 wnting, pri t g, and reading ot our tune. Even in this environment Wilkes was able to make “venbvTK t 0’ A “ ° n .lls 'e accused the King of lying in his address to parliament describ­ ing the recent (and unpopular) peace treaty between England and France in February 1763 as "honorable to my crown and beneficial to my people." The North Briton was published anonymously but Wilkes was arrested under a general war­ rant tor seditious libel. The legality of such a warrant was questionable and its use made Wilkes into a popu ar hero overnight. Lord Temple, as lord-lieutenant of Buckinghamshire, was ordered by the King to cancel W ilkes militia commission. Wilkes' papers were seized, and he was im­ prisoned in the Tower, he was released on grounds of parliamentary privilege on 6 May 1763. The experience did nothing to chasten Wilkes, who determined to challenge Lord Egremont, one of the secretaries of state, to a duel. This was prevented by Egremont's death of natural causes in August while Wilkes was in France. Egremont's successor in office was Wilkes' old friend, the Earl of Sandwich, who with Wilkes had been a member of the group known as the Monks of St. Francis, whose nightly orgies on the site of the former Medmenham Abbey earned them the title of the Hell-Fire Club. However, in the British politics of the age, friendship was never allowed to interfere with political advantage. Wilkes returned to England in November and on 12 Novem­ ber 1763 published North Briton No. 46, resuming his attack on the government. Sandwich im­ mediately revealed a poem entitled "An Essay on Woman.” The poem was anonymous and ap­ parently had been written by Wilkes' dead friend Thomas Potter, son of an archbishop of Canterbury. It appears to have been updated with topical allusions by Wilkes and according to printers’ depositions it had been printed by Wilkes' direction at his private press. On 15 Novem­ ber, only’ three days after the appearance of the new North Briton, Sandwich arranged to have the House of Lords attack the "Essay" as an obscene and impious libel (which it unquestionably was) and a breach of privilege; Commons resolved that seditious libel was not covered by privi­ lege. Wilkes was seriously wounded in a duel on 16 November with Samuel Martin, a British secretary of state who slandered Wilkes, but Wilkes showed his continued willingness to fight hyis-ming a reprint of the entire North Briton. Then his nerve seemed to fail him, and he retreated to Paris. He carried on a running battle in absentia with Commons and the courts; he was ex­ pelled from the former and convicted and outlawed by the latter. When Rockingham came to power in 1765, Wilkes returned briefly to London in hopes of obtaining a pardon and position or pension, but he was disappointed. He returned again in October 1766 but he would not deal with Chatham (Pitt), whom he distrusted, and he received no satisfaction from Grafton. Wilkes appeared yet a third time on 6 February 1768, stood for parlia­ ment unsuccessfully in London, then secured a seat in Middlesex on 28 March 1769. It was a tempestuous time in London. The winter had been exceptionally severe and the Thames River was frozen over. There had been considerable economic distress. The Common Council of Lon­ don had opened a subscription for the relief of the poor, and the price of wheat and bread had risen sharply in the new year. A number of industrial disputes had arisen, particularly among the weavers, coal-heavers, hatters and tailors. In short, a popular movement with strong anti-gov­ ernment tendencies was well underway when Wilkes returned to London. Wilkes controversy withfiie governmentmade him a popular figure and his election in Middlesex was the occasion of celebration and rioting. According to the Annual Register, Bute and many other gentlemen and tradesmen in most of the public streets of both cities, London and Westminster. Wilkes' election caused great concern within the government and Ae cabine‘was divided between those who wished to bring Wilkes to account on the vanous charges accumulated �JOHN WILKES & ISAAC BARRE i n nrpferred moderation. Wilkes again took the initiative and anfollowed, the government tooK P on route t0 prison and taken to a tavern. But he manadequate. Wilkes was seizedby The government was humiliated and the mob, enaged to escape and to commit h tJinuousiy for the next two weeks. On 10 May 1768, the couraged by the lapse 1co*. Massacre Large crowds had unrest culminated with b . estimated to be as high as 40,000. A confrontation ensued bled near the prison,then b b mob shouting, «<wilkes and Libefty between magistrates and h^P „ During the disturbances, at least eleven rioters for ever! and, reporte y, W^ government was further embarrassed, and the Wilkesand innocent bystande first martyrs. As for Wilkes, he arranged pubheation of the SS® for fhe maintenance of order in April, with suitable comments. As George Rud? a Wilkes biographer, stated, "the massacre was made to appear among a wider public not merely as the mishandling of a difficult situation by a weak though well-intentioned administra­ tion, but as an affair deliberately staged by a brutal and tyrannical executive. Wilkes was ultimately fined 1000 pounds and sentenced to twenty-two months of imprison­ ment This was only a minor inconvenience. He was supported by gifts from those who saw him as a symbol of opposition against an unpopular government. This included not only English sup­ porters but colonials. The Sons of Liberty in Boston and the South Carolma colonial assembly sent tokens of their esteem. Wilkes' popularity with the mob and other governmental opponents continued and in early 1769 some of his wealthier supporters, including merchants and mem­ bers of parliament, formed the Society of the Supporters of the Bill of Rights. The organization was set up to pay off Wilkes' outstanding personal debts and political expenses. By April 1770, the group raised and paid out some 20,000 pounds, reducing Wilkes' debts by about two-thirds. This activity showed support for Wilkes from a new quarter. The merchant classes of London disliked the king and considered parliament to be corrupt. Their hostility focused on taxation, which they felt bore primarily on the business classes of the city. They also were supporters of the colonies, who shared their aversion for taxation and who provided much of their commerce. The Wilkesites adopted the colonial slogan of "no taxation without representation" and called for the reform of parliament to provide more equitable representation, more frequent elections, and a broader franchise - though few if any of these advocates were proposing votes for the poor. The concept of a corrupt parliament was strengthened by its reaction to Wilkes' election as a member from Middlesex. Wilkes was refused his seat despite his re-election three times. On the final occasion on 13 April 1769, Wilkes' opponent, a Colonel Luttrell, was seated and the election returns falsified to support this contention. Wilkes' cause was championed by an anonymous !c?own, °"ly as Junius- Junius published letters in the London press between 1767 and 1772, although the use of the pseudonym dated only from January 1769. His attacks on Grafton mid other members of the government were often more savage than those published in the North ■ n Tn 61 °f Junius remains a mystery and candidates include a diverse group of prom™ daY rangmg from. Edmund Burke and Isaac Barrd, to Wilkes himself. CurFrandswasaeuJ LordShelbturne or Sir Philip Francis, the latter being more likely, familiarity in his letter? Th1 ° 3 bureaycratic maze with which Junius demonstrated great Francis was sent to India a cessatlon of the letters of Junius at about the time when evidence S 3 ^g11 80vernment official provides additional circumstantial had been restored b^his friends^11 °n 17 17701 Prison had been beneficial: his finances to the financial rescue of Wilkes hut w n ?0Ijne' Originally the organization was dedicated for the advancement of political'refnrmwn^ °th®rs wanted to use the organization as a device personal support, and Horne andI nd?' T !d Claim to the funds °f the Society for his own group called the Society for ConslimSon Wlt*? Wilkes' leaving the society and forming a bers, still included men of affluence -md ” °J™ation. The Supporters, while reduced in numwould continue to provide for Wilkes' considerable JOHN WILKES & ISAAC B. financial needs for many years. Wilkes would once again be elected to Commons from Middl. mng without opposition and assuming his seat without challenc 1790, when he did not seek re-election. However, by 1774 the fo had shifted to the city of London. A political dispute, between p perceived infringement of the London charter, provided Wilkes ported Lord Mayor Brass Crosby. Elected sheriff of London an. Wilkes gained the further support of the poorer classes by prison reduction in capital offenses which would anticipate these reform Wilkes ran for Lord Mayor but experienced a repetition of his di Commons. Influenced by George III, the aidermen refused to elec he had received a majority of the popular vote. He was again achieved success in his third attempt on 8 October 1774, three ' Commons. His later career was far less dramatic than his beginning. / supported the economic reforms of the Rockingham ministry. H went far beyond them in a proposal which he made in 1776 for t tary seats. This anticipated the major features of a proposal intro, ger seven years later. Throughout the American Revolution, Wi measures, a policy in keeping with the views of his political cons supported efforts to provide better funding for the British Muse for the relief of dissenting ministers and schoolmasters from th. articles of religion then required by English law. His term as Lor< than his efforts to achieve the position. His appointment had be. was to be the last riot inspired by Wilkes. Wilkes reportedly thai him a pardon when he was in Paris since he would have accept. Wilkes, "for not having ruined me." Horace Walpole, son of Eng lifelong observer of England's turbulent politics, gleefully not. Crown, all of the malice of the Scots ... all of the treachery of him " As Lord Mayor and earlier as sheriff, Wilkes worked fc reduced the price of bread, punished tradesmen who gave shoi of prostitutes. He established fixed court fees and went so far animals being sold at market. The most notable event of hi: George III in 1775 on behalf of the American colonies. After es was presented to the King by Wilkes, the first time that the tw been made first that the King would not speak to the Lord Ma this fashion with Wilkes on his most dignified and tactful beh. that Wilkes was a very well-bred Lord Mayor. WILKES AND LIBERTY What was Wilkes' relation to political reform in England revolutionary cause in America? The difficulty m answering tl found in assessing Wilkes as a person. Wilkes, had he been re political loyalty in the early 1760s, might never have beco Briton. Once he became a symbol of dissent, there is ample tion for his own financial and political advantage. Yet, once was often found in the forefront of movements lor parliamentary changes which would not finally be “lueve While one could dismiss his advocacies as taking a position v constituents without changing the system slg^ic“tly?“ * London as sheriff and Lord Mayor suggest hat h1^action.^ than by political expedience. As a member o^arlia the time that he finally achieved a seat in Col“®°“ ' liti cal figures moving toward a reform of the more 1b P that Wilkes' unique position in British politics had vamshe �ISAAC BARRE JOHN WILKES in Wilkes again took the initiative and an,wy charges. In the judicial maneuvers which ular disturbances, but these proved to be in­ to prison and taken to a tavern. But he man[overnment was humiliated and the mob, enfor the next two weeks. On 10 May 1768, the 5 Fields Massacre.” Large crowds had assemi be as high as 40,000. A confrontation ensued > and the mob shouting, "Wilkes and Liberty luring the disturbances, at least eleven rioters ;nt was further embarrassed, and the WilkesAs for Wilkes, he arranged publication of the in April, with suitable comments. As George ras made to appear among a wider public not ' a weak though well-intentioned administraand tyrannical executive." entenced to twenty-two months of imprisons supported by gifts from those who saw him eminent. This included not only English supin and the South Carolina colonial assembly i the mob and other governmental opponents supporters, including merchants and memorters of the Bill of Rights. The organization debts and political expenses. By April 1770, reducing Wilkes' debts by about two-thirds :w quarter. The merchant classes of London corrupt. Their hostility focused on taxation, ses of the city. They also were supporters of i and who provided much of their commerce, taxation without representation" and called ble representation, more frequent elections, advocates were proposing votes for the poor, hened by its reaction to Wilkes’ election as a at despite his re-election three times. On the Colonel Luttrell, was seated and the election i cause was championed by an anonymous ters in the London press between 1767 and f from January 1769. His attacks on Grafton ore savage than those published in the North candidates include a diverse group of promke and Isaac Barre, to Wilkes himself Curhilip Francis, the latter being more likely, maze with which Junius demonstrated great he letters of Junius at about the time when official provides additional circumstantial 70. Prison had been beneficial: his finances lost much of his political support. The deep f tor alienating former supporters - such as ite wntmgs and remarks reduced his influ‘g of the ways with the Supporters of the Bill - Ongmally the organization was dedicated Se organ'zation as a device . X‘° i6 funds Of the Society for his own inn Th % eavin§ dle society and forming a ntimie t Uppo5terS| while reduced in numntmue to provide for Wilkes' considerable & ISAAC BARRE 13 financial needs for many years 1790, when he did not seek re-election HoweveX S had shifted to the city of London. A political dim bln * f r f S, Pu Career perceived infringement of the London charter provided parlament and.the cljY over a brLord ^>'7 rs cio,bY- ei“s reduction in^anitaloffend SUp?°rt °f th<JPoorer classes by prison reform and the advocacy of a Commons, ty.G«Ul. ,ta .ttZESS’S”; he had received a majority of the popular vote. He was again defeated in 1773, but finally achieved success in his third attempt on 8 October 1774, three weeks before he was seated in Commons. 4^3 Career WaS faF less dramatic than his beginning. As a member of parliament, he supported the economic reforms of the Rockingham ministry. However, he took a stand which went tar beyond them in a proposal which he made in 1776 for the redistribution of parliamen­ tary seats. This anticipated the major features of a proposal introduced by William Pitt the younger seven years later. Throughout the American Revolution, Wilkes opposed the government's measures, a policy in keeping with the views of his political constituency in London. In 1777, he supported efforts to provide better funding for the British Museum. In 1779 he supported a bill for the relief of dissenting ministers and schoolmasters from the subscription to the thirty-nine articles of religion then required by English law. His term as Lord Mayor was also more dignified than his efforts to achieve the position. His appointment had been celebrated by rioting, but this was to be the last riot inspired by Wilkes. Wilkes reportedly thanked the king for not having sent him a pardon when he was in Paris since he would have accepted it. "I am obliged to him," said Wilkes, "for not having ruined me." Horace Walpole, son of England's first prime minister and a lifelong observer of England's turbulent politics, gleefully noted, "thus all of the power of the Crown, all of the malice of the Scots ... all of the treachery of his friends, could not demolish him." As Lord Mayor and earlier as sheriff, Wilkes worked for the benefit of the citizens. He reduced the price of bread, punished tradesmen who gave short weight, and cleared the streets of prostitutes. He established fixed court fees and went so far as to look after the treatment of animals being sold at market. The most notable event of his tenure was a petition made to George IH in 1775 on behalf of the American colonies. After extended negotiations, the petition was presented to the King by Wilkes, the first time that the two had met, the stipulation having been made first that the King would not speak to the Lord Mayor. The ritual was played out in this fashion with Wilkes on his most dignified and tactful behavior. The King noted afterwards that Wilkes was a very well-bred Lord Mayor. WILKES AND LIBERTY What was Wilkes' relation to political reform in England and what did he contribute to the revolutionary cause in America? The difficulty in answering these questions lies in the difficulty found in assessing Wilkes as a person. Wilkes, had he been rewarded by the government for his political loyalty in the early 1760s, might never have become the rabblerouser of the North Briton. Once he became a symbol of dissent, there is ample evidence that he exploited this posi­ tion for his own financial and political advantage. Yet, once he achieved office m the 1770s, he was often found in the forefront of movements for political and social reform. He advocated parliamentary changes which would not finally be achieved until many years after his death. While one could dismiss his advocacies as taking a position which he knew would aPPeal hl® constituents without changing the system significantly, the sweeping reforms which he made in London as sheriff and Lord Mayor suggest that his actions were motivated more by sincerity �JOHN WILKES & ISAAC BARRE 14 an American t0 sch°o1- but theY hadl^ problem of governing India.rec_ George hated hhn He feR that nment corp0rations now common in modern American ad- ain's interest, and propose Commons over the issue d P h intervened directly, causing the fall of the Fox-North fmrn 1773 to 1785 was Warren Hastings, a remarkable administrator, who virtually singleSdedly saved the East India Company and extended itsjpower. One of lus chief assistants anda X with great personal ambition and plans was Philip Francis, already mentioned as the most likely person to have been Junius. Hastings worked towards an India wholly controlled by the East India Company, while Francis believed that the government should run the administration in Bengal, the Company should stick to making money, and the rest of India should be left to its own devices. Francis lost the struggle in India and returned to England in 1780 to undermine Hastings' position. When Pitt came to power, the new India Act condemned further expansion in India. Hastings had little choice but to resign and return to England in 1785. Francis, his revenge still incomplete, continued to press his charges and Pitt allowed the impeachment of Hastings in May 1787. As Fox was one of the leaders of the move, Wilkes opposed the action and broke irrevocably with Pitt. This placed him in opposition to Francis as well, another political irony if Francis was in fact Junius. Apparently tiring of the rough and tumble of British politics, Wilkes did not stand in the next election in 1790 but retired from politics. As for the American Revolution, Wilkes' role was even more symbolic. His most important function was before the revolution when his opposition to the established political forces in Eng­ land made him useful to dissident colonials. As Lord Mayor of London and a member of parlia­ ment at the beginning of the American Revolution, his influence was limited. His famous peti­ tion to the King of 10 April 1775 served those commercial interests that opposed the war. His speeches against the war in Commons were now a minor voice in the steadily strengthening opposition to the conflict. ISAAC BARRE more ntdestrian and JOHN WILKES & tained this political attachment until Pitt’s deatl vice-treasurer of Ireland. King George's hatred c for Wilkes, blocked Barre's promotion in the arc Barre was a radical, but, unlike Wilkes, he c expert on financial questions, and took a promil opposed the taxation of the colonies not becausthought it inexpedient. His opposition to the Ai lesser voice among those political giants who opj cal alliances. His political fortunes rose and fell' in his appointment as paymaster colonel in the S' trative position. As in the case of Wilkes, Barre's association bolic. Barre was a less dramatic symbol than V through his service in Quebec. SOU Brewer, John. Party Ideology and Popular Politics at tl George, Mary Dorothy, and Stephens, Frederick. C Department of Prints and Drawings in the B 1935, and 1938. Kronenberger, Louis. The Extraordinary Mr. Wilkes:. Lee, Sidney, and Stephen, Leslie, editors. Dictionary 1885 and 1890. Postgate, Raymond. That Devil Wilkes. New York, 1 Rude George. Wilkes and Liberty: A Social Study of 1 TYevelyan, G.M. History ofEngland. 3rd edition. Lor Walpole, Horace. Memories of the Reign of George III Watson, J. Steven. The Reign of George III, 1760-1811 Weatherly, E.H., editor. Correspondence ofJohn Will aSSOC.lation' While Wilkes was a bawdy individual, Barre was far promotion, feeling that fourteen vea^5 Sm!l ar to that of Wilkes. In 1760, he applied to Pitt for a jected the request ‘ Y WaS Iong enough to wait. Pitt thought differently and re­ cured him a military comm—reliable and consistent political ally. Shelburne seously for the next twenty-nine vearl SeaJ..ln Parliament in 1761. He remained there continuWilkes in retiring from Commons^ T'1? w-u 1 a^ter a disagreement with Shelburne, he joined his first speech in Commons had hehe WaS nOt a friend of ™t, and in the early 1760s received a political appointment from flVn attack uPon that gentleman. Unlike Wilkes, he However, he lost the appointment and ?.(ministr7 worth 4000 pounds a year in early 1763. “pp“'t for wiita - Professor Harold E. Cox is a graduate of Willi ofPhilosophy degrees from the University ofVirg the Department ofHistory of Wilkes College, whe ofEarth and Environmental Sciences. Dr. Cox is u ban railroads and for his weekly column in the W in-progress is a history ofstreet railways in the IV �'a s AC BARRE titing on the demise of the independent iVhigs to school, but they had stolen the ntary conscience. During the 1780s, the ion. Charles James Fox, one of the Whig ge hated him. He felt that the influence rpany was not capable of handling Britnamed initially by parliament. The arnow common in modern American ade violent political struggle generated in ■ds Fox, opposed the bill. This ironically lirectly, causing the fall of the Fox-North inger. Wilkes initially gave Pitt indepenin 1787. The Governor-General of India le administrator, who virtually singles power. One of his chief assistants and a Francis, already mentioned as the most raids an India wholly controlled by the ,'ernment should run the administration and the rest of India should be left to its lined to England in 1780 to undermine dia Act condemned further expansion in to England in 1785. Francis, his revenge allowed the impeachment of Hastings in :, Wilkes opposed the action and broke Francis as well, another political irony if jh and tumble of British politics, Wilkes m politics. ven more symbolic. His most important to the established political forces in Engayor of London and a member of parliainfluence was limited. His famous petircial interests that opposed the war. His inor voice in the steadily strengthening £ ed. Their first meeting was not until 1765 t the publication of the North Briton, they -s was a bawdy individual, Barre was far skills at parliamentary debate and invec■ mihtary and entered the service in 1746. nca and was with Wolfe in the Battle of lo.b®,ca™e his P°Utical patron. Barre's exof Wdkes. In 1760, he applied to Pitt for a ,h to wait. Pitt thought differently and re“tCOn^ent political ally- Shelburne se111 1. He remained there continuS™'? Shelbu™e, he joined ’ nnn °f Pltt’ and “the earlY 1760s Vworthhianngnntleman- Unlike Wilkes' he (noundsayearinear)y1763ded with P'h°- °^ing September because th Pm in February 1764 and main- JOHN WILKES & ISAAC BARRE 15 I S?reSXffr"rUntil Pitt/S death' Pitt restored him to the army and made him for Wilkes Worked Ra 21 g corge s hatred of Barrd, described as second only to his dislike for Wilkes, blocked Barrd s promotion in the army, and he retired in 1773. r+on fine 3 lCa fUt* un ’ke Wilkes, he chose to work within the system. He became an expert on financial questions, and took a prominent position in such matters in parliament. He oppose e axa ion o re co onies not because he considered it unfair but rather because he thought it inexpedient. His opposition to the American Revolution, like that of Wilkes, was a lesser voice among those political giants who opposed the war and was consistent with his politi­ cal alliances His political fortunes rose and fell with those of his patron Shelburne, culminating in his appointment as paymaster colonel in the Shelburne ministry in July 1782, his last administrative position. -^■s mtbe case of Wilkes, Barry's association with the American Revolution was purely sym­ bolic. Barre was a less dramatic symbol than Wilkes, but he had closer ties to the new world through his service in Quebec. i SOURCES Brewer, John. Party Ideology and Popular Politics at the Accession of George III. Cambridge, 1976. George, Mary Dorothy, and Stephens, Frederick. Catalog of Personal and Political Satires Preserved in the Department of Prints and Drawings in the British Museum. Volumes IV, V, and VI. London, 1978, 1935, and 1938. Kronenberger, Louis. The Extraordinary Mr. Wilkes: His Life and Times. Garden City, N.Y., 1974. Lee, Sidney, and Stephen, Leslie, editors. Dictionary of National Biography. Volumes III and LXI. London, 1885 and 1890. Postgate, Raymond. That Devil Wilkes. New York, 1929. Rude George. Wilkes and Liberty: A Social Study of1763 to 1774. Oxford, 1962. Trevelyan, G.M. History of England. 3rd edition. London, 1945. Walpole, Horace. Memories of the Reign of George III. 4 vols., reprinted. Freeport, N.Y., 1970. Watson, J. Steven. The Reign of George III, 1760-1815. Oxford, 1960. W'eatherly, EH.; editor. Correspondence ofJohn Wilkes and Charles Churchill. New York, 1954. ofEarth and Environmental S ■ ■ Wilkes-Barre Sunday Independent; his current work­ ban railroads and for his weekly column in the Wilkes Barresunu y p in-progress is a history of street railways in the Wyoming Valley. i �JOHN WILKES & ISAAC BARRE 16 J O H - ■ ■ INSULTING A KING: THE NAMING OF W 1« r L- 3 ' y o//// m ( )J(7 7 Exhibition No. 2 The history of the naming of Wilkes-Barre began with a King's err. °i A J?™ a v n110 the Connecticut colony to certain lands eluded the Wyoming Valley. At the same time, King Charles II owed a 1 of the English navy, father of William Penn. In 1681 King Charles I charter to the Pennsylvania region in repayment of the debt owed tently, the Pennsylvania and Connecticut charters both covered a prize ley known as Wyoming. The name Wyoming was derived from a corr me, a Delaware Indian name for The Large Plains. The Penns respected the Indians' right of conquest to the land, ar sity to settle the area. By the 1750s, however, soil exhaustion and a trip Connecticut settlers to consider settlement of the Wyoming Valley. The Susquehannah Company was formed in July 1753 in Wind purpose of purchasing the Susquehanna lands, including the Valley of natives, and to explore and organize a settlement in the region. The se by the intervening French and Indian War (1754-1763) which pitted tl allies against the English and the American Colonists. By 1758 the Ii general peace with the English, and Delaware Indians under Chief 1 Wyoming Valley. In September 1762 about 119 Susquehannah Company settlers i the current site of the Wilkes-Barre General Hospital, to plant grai which they returned to Connecticut. They returned to Mill Creek i Teedyuscung had burned to death in his home, near the site of preser Wilkes-Barre. Whether the fire was accidental or deliberate is not kr factions among the Indians. Then, on October 15, 1763, the Mill Cree and twenty settlers were killed by marauding Delawares from outsid' local Indians both fled the Valley. Permanent settlement of the Valley was not encouraged until 17 had long ignored their claim to the region of Pennsylvania had a surv in December 1768. The west side of the river valley was called the A side, including the present Wilkes-Barre area, was called Manor of S settled at Mill Creek in the same month, but as the year closed, the resolved in Hartford, Connecticut, to also resettle the Wyoming Valle The Susquehannah Company sent the "first forty" settlers to the ary 1769. Twice the Connecticut settlers were arrested by the Penns Easton, where they were released on bail, and each time the Connect: Valley. Two hundred additional Connecticut settlers arrived in May 1 Major John Durkee. Fort Durkee was erected near the present loca Center for the Performing Arts. The Susquehannah Company plan was to survey five towns in about five miles square, and to divide the towns among the 240 Con: pany also invited certain malcontented Pennsylvanians called the P caster-Dauphin County area, to join the Wyoming settlement in oppi thority. In the summer of 1769, amid a warring atmosphere betw Connecticut claimants, Major John Durkee made daring preparations create settlements. John Durkee (1728-1782) is an important but unheralded figure i Durkee, born in Windham, Connecticut, moved to Norwich in 1750. �ISAAC BARRE JOHN WILKES & Isaac barre 17 INSULTING A KING: THE NAMING OF WILKES-BARRE of EnSdtave°a chartTtoIhe Conne'?^ *7“ * King’S error-In 1662 Charles 11 eluded the Wyoming Valley. At the saSme K°nTch° “ N°rth America that of the English nav/ father of Wfc £ £S K 11 °weda ar§e debt Admiral Penn charter to the Pennsylvania regionTrepXen of tiS £ h? Penn * tentlv the Pennsylvania and C™ <-• ? 7ment °i the debt owed to Penn s father. InadverEKmXZ “d Connecticut charters both covered a prized Susquehanna River val­ ley known as Wyoming. The name Wyoming was derived from a corruption of Maugh-wau-wame, a Delaware Indian name for The Large Plains. F wau wa dHTIhXrtWhArrPeCRelnhei /■ nNo.2 A ,;z/, .' right of con<luest t0 the land, and there was no felt neces­ sity to settle the area By the 1750s, however, soil exhaustion and a tripling population compelled Connecticut settlers to consider settlement of the Wyoming Valley. The Susquehannah Company was formed in July 1753 in Windham, Connecticut, for the purpose of purchasing the Susquehanna lands, including the Valley of Wyoming, from the Indian natives, and to explore and organize a settlement in the region. The settlement urge was blocked by the intervening French and Indian War ,1754-1763) which pitted the French and their Indian allies against the English and the American Colonists. By 1758 the Iroquois had entered into a general peace with the English, and Delaware Indians under Chief Teedyuscung settled in the Wyoming Valley. In September 1762 about 119 Susquehannah Company settlers arrived at Mill Creek, near the current site of the Wilkes-Barre General Hospital, to plant grain and erect shelters, after which they returned to Connecticut. They returned to Mill Creek in May 1763, shortly after Teedyuscung had burned to death in his home, near the site of present Riverside Drive in South Wilkes-Barre. Whether the fire was accidental or deliberate is not known. There were warring factions among the Indians. Then, on October 15, 1763, the Mill Creek settlement was attacked and twenty settlers were killed by marauding Delawares from outside the area. The settlers and local Indians both fled the Valley. Permanent settlement of the Valley was not encouraged until 1768. The Proprietaries who had long ignored their claim to the region of Pennsylvania had a survey of Wyoming completed in December 1768. The west side of the river valley was called the Manor of Sunbury. The east side, including the present Wilkes-Barre area, was called Manor of Stoke. Pennsylvania lessees settled at Mill Creek in the same month, but as the year closed, the Susquehannah Company resolved in Hartford, Connecticut, to also resettle the Wyoming Valley. The Susquehannah Company sent the "first forty" settlers to the Wyoming Valley in Febru­ ary 1769. Twice the Connecticut settlers were arrested by the Pennsylvania party, and taken to Easton, where they were released on bail, and each time the Connecticut settlers returned to the Valley. Two hundred additional Connecticut settlers arrived in May 1769 under the leadership of Major John Durkee. Fort Durkee was erected near the present location of the Wilkes College Center for the Performing Arts. , rir , The Susquehannah Company plan was to survey five towns m the Wyoming Valley, each about five miles square, and to divide the towns among the 240 Connecticut settlers. The Com­ pany also invited certain malcontented Pennsylvanians called the ’ Paxton Men, from the Lan­ caster-Dauphin County area, to join the Wyoming settlement in opposition to Pennsylvania au­ thority. In the summer of 1769, amid a warring atmosphere between the Pennsylvania and Connecticut claimants, Major John Durkee made daring preparations to survey the region and to i I - �‘Hi,'JOHN WILKES & ISAAC BARRE _ regiment in the hostilities between England and France a commission to &eaC°Xuished manner in the English invasion of Canada and he Was Durkee was to serve m.adistmg March 175g Durmg the f h service in appointed a major for his reg™ E Ush Army who served in Canada m 1758-59. The Durkee met Isaac Barre, ™ 1 born in Dublin, Ireland, m 1726, and educated at Trinity son of a French refugee Barre lawyer. He also had promise as an actor. But College. His parents hoped hejoule1746 Barre was with Barre preferred am^%^"“fataUy shot during the defeat of the French on the Plains of Wolfe of England when Wol September 1759. Barre himself received a severe bullet Abrah dm£^ wound to his right cneex w denied an army prom put blind t0 Barre's commendable years of service, t Engiand and entered Parliament for Chipping Wycombe Pitt Immediatel? after his seating in Parliament, Barre received considerable notice when he ment's treatment of Wilkes. ,, „. . . . The careers of Durkee and Barre were again joined during the Stamp Act controversy. The Stamp Act was introduced in the House of Commons in February 1765. Barre was the single most vocal opponent of the tax in the House; he predicted rebellion in the Colonies. In a famous speech in opposition to the Stamp Act which stunned the House, Barre called the British Colo­ nists in America the "Sons of Liberty," a catch-word which ignited passion in the New England settlements, but did not stay passage of the Stamp Act by Parliament. In America, radical patriotic groups called the Sons of Liberty were organized to oppose the Stamp Act. John Durkee was active in these pre-Revolutionary activities as Norwich was the center of the Sons of Liberty resistance in Connecticut. In September 1765 Durkee organized a gang of five hundred men to capture and harass Jared Ingersoll, the Stamp Act agent for Connect­ icut. The Sons of Liberty grabbed Ingersoll in Wethersfield and took him to Hartford and forced him to resign. Among the Sons of Liberty with Durkee were Captain Zebulon Butler, future leader of the Wyoming forces defeated in the Wyoming Massacre of July 3, 1778, and Benjamin Harvey, who later settled in West Nanticoke and Plymouth. Harvey became an important figure in Wyoming Valley frontier life, and he discovered the lake named for him in 1781. When the Stamp Act was repealed in 1766, the town of Boston had a portrait of Barre hung in Faneuil Hall. The portrait was later destroyed by British troops during the Boston siege of 1775. Durkee only knew John Wilkes by reputation since Wilkes never visited America. The Wilkes name was well-known among the Colonials in the decade before the Stamp Act crisis. He, like Barre, also had a grievance with Pitt after Wilkes was denied the governorship of Que­ bec m 1762. Wilkes was a vocal opponent of the King's ministers. Whether he was a dedicated r’f r “PP0^™1,51 wl,th unusual wit, can be debated. Nevertheless, Wilkes became a Xht I f n h an^.Coloaial na«onal rights and liberties which an oppressive government ConnecSZ H1S conf^™tatlonsi (or antics) were closely followed in Massachusetts and cheer Wilkes' legaf XtorieTovm- pSaZnt peri°dicaU^ meet “ loCal taVemS ‘° land and America for a^ecTde^ AmpT'1118 “ MaF 1769' Wilkes had been the talk of Englarly re-elected to Parliament Ruf w™6 °f ?^rre'S StamP Act speech, Wilkes had been popufrom being seated, which onlv Commons voided the election to prevent Wilkes of the Atlantic. Wilkes wrote tothad ^tional outbursts of support for Wilkes on both sides to have the Stamp Act repealed if Bp ° 1^’ert7 in Boston in March 1769, expressing his wish patriot. In October 1767, he named h;cVier^eVer^eated in Parliament. Durkee was the extreme ment. In July 1868, Andrew Durkee a ,son®arre Durkee, after Durkee's comrade in Parliaew Durkee, a cousin of John Durkee, named his son Wilkes Durkee. JOHN WILKES & I In July 1769, Major John Durkee, President of tl barre for the region near the Connecticut fort in his, five towns authorized by the Susquehannah Com™ (renamed Hanover a year or two later), Pittstown Kingstown in 1770, later Kingston), and Plymouth E the settlement as Wilkesbarre, of course, honored Wilkesbarre assuaged Durkee's patriotic ardor and tion of the King's ministers. But the Connecticut st mother country. Pittstown honored the British Min fered a quart of Connecticut whiskey to his friends ship. He called it Kingstown, after the birthplace of descent, a compliment to the King. Nanticoke Towi renamed it Hanover, a town near York, an area popul Germany. King George III descended from the Hous However, open warfare broke out when Penns} vember 14, 1769, causing the first Yankee-Pennam kee) settlers were driven out of the Valley, and Durk In 1770, Captain Lazarus Stewart and the "Paxton Yankees. There were additional sieges between the the Pennsylvanians were defeated in August 1771 b' ler. The local war was not fully abated until the Yanl force at Rampart Rocks near Harvey's Creek at Chr Durkee was kept in a Philadelphia jail until Aug onment, Durkee did not return to settle in the tow River. He returned to Norwich where his wife, Mar destitute during Durkee's confinement, a reason he Valley only for brief visits in 1773 and 1774. In the years immediately before the Revolutio was under the control of the shareholders of the Sus ated their own government which was neither forrr by the settlers as subject to Pennsylvania authorit townships were organized under a general town i county of Litchfield, Connecticut. During this time Major John Durkee returned participated in major battles of war for the patriotic of Trenton. Durkee crossed the Delaware River wit Day 1776. He became Colonel of the 4th Regiment, ment spent the winter of 1777-78 at Valley Forge. A wound of the right hand which left him permanen service in 1781, and exhaustion from the war years 29, 1782. John Wilkes finally regained a seat from Middle also secured his election as Lord Mayor of London t London and Wilkes protested the government's cot ued his opposition to governmental policies during was still an anti-authoritarian advocate and was inv Wilkes finally left politics in June 1790 when he di years, usually dressed in scarlet, gold lace and rufl and entertaining manner had served to reconcile h ponents. He died on December 26,1797, and was Isaac Barre's political career is no longer cheris in championing the Colonies was probably more 1c ured face, Barre could rattle the House of Commoi sure of his opponents. He was acclaimed in Ament against the Colonies. Nevertheless, Barre manage British politics with more conventional grace and < he held the offices of Adjutant General in the n �KES & ISAAC BARRE JOHN WILKES & ISAAC BARRE 19 ’rx™"e«rse of his service in i759, JFnvli h Army who served in Canada in 1758-59. The irn m Dublin, Ireland, in 1726, and educated at TYmity become a lawyer. He also had promise as an actor. But Pitt blind to Barre's commendable years of service. jndand and entered Parliament for Chipping Wycombe f4°1790 Pitt had resigned from the King's cabinet and sat men, now under Lord Bute, sought to challenge the feared Parliament Barre received considerable notice when he House of Commons. Barre was later awarded the rank of arre reconciled with Pitt in 1764, partly over the govern- Aiere again joined during the Stamp Act controversy. The ise of Commons in February 1765. Barre was the single louse; he predicted rebellion in the Colonies. In a famous which stunned the House, Barre called the British Colo' a catch-word which ignited passion in the New England if the Stamp Act by Parliament. is called the Sons of Liberty were organized to oppose the n these pre-Revolutionary activities as Norwich was the e in Connecticut. In September 1765 Durkee organized a id harass Jared Ingersoll, the Stamp Act agent for Connectirsoll in Wethersfield and took him to Hartford and forced berty with Durkee were Captain Zebulon Butler, future 1 in the Wyoming Massacre of July 3,1778, and Benjamin ticoke and Plymouth. Harvey became an important figure le discovered the lake named for him in 1781. When the iwn of Boston had a portrait of Barre hung in Faneuil Hall, itish troops during the Boston siege of 1775. by reputation since Wilkes never visited America. The ; the Colonials in the decade before the Stamp Act crisis, ith Pitt after Wilkes was denied the governorship of Quenent of the King's ministers. Whether he was a dedicated sual wit, can be debated. Nevertheless, Wilkes became a ral rights and liberties which an oppressive government is (or antics) were closely followed in Massachusetts and al assemblies would periodically meet in local taverns to lament. rsy in England in 1762-1763, Barre supported the rights of lis led the government to temporarily dismiss Barre from e fond of the constitutional rights Wilkes represented than of Wilkes as "a wicked, daring infamous incendiary" and ming Valley in May 1769, Wilkes had been the talk of Eng' bme of Barre's Stamp Act speech, Wilkes had been popu•pHhJv Co.ram°ns voided *e election to prevent Wilkes nf Tdlk°^ 0UnbUrStS of suPPort for Wilkes on both sides ns o 'Liberty in Boston in March 1769, expressing his wish XdsonRe nm,Parliament Durbee was the extreme a^usin nf TabeDurkee’SCOmrade“Parlia' f John Durkee, named his son Wilkes Durkee. the settlement as Wilkesbarre, of course7 honUdS^WUt Wilkesbarre assuaged Durkee's patriotic ardor and vL / ?6S and Jsaac Barre’ The name tion of the King's ministers. BuUheCo^ the Atlantic in the direc­ mother country. Pittstown honored the British Minister Willp^a theif eff£onter7t0 the fered a quart of Connecticut whiskey to h^fdends to hav^?JP b ? ET Dean' °f’ ship. He called it Kingstown, after the birthplace of his wife in RhoTe^dlndTn^therXeTy descent a comphment to the King. Nanticoke Township was given to the "Paxton Boys who renamed it Hanover, a town near York, an area populated by German immigrants from Hanover Germany. King George III descended from the House of Hanover. However open warfare broke out when Pennsylvania troops captured Fort Durkee on No­ vember 14, 1769, causing the first Yankee-Pennamite War (1769-1775). The Connecticut (Yan?ee’Xen ^S YereTdnven of the VaHeY and Durkee among others was jailed in Philadelphia. In 1770, Captain Lazarus Stewart and the "Paxton Boys" retook Fort Durkee on behalf of the Yankees. There were additional sieges between the Pennsylvania and Connecticut forces but the Pennsylvanians were defeated in August 1771 by Yankee forces led by Captain Zebulon Butler. The local war was not fully abated until the Yankees again defeated a Pennsylvania invasion force at Rampart Rocks near Harvey's Creek at Christmas 1775. Durkee was kept in a Philadelphia jail until August 1772, nearly two years. After his impris­ onment, Durkee did not return to settle in the town he named along the upper Susquehanna River. He returned to Norwich where his wife, Martha, and children resided. They were nearly destitute during Durkee's confinement, a reason he was released. He returned to the Wyoming Valley only for brief visits in 1773 and 1774. In the years immediately before the Revolutionary War (1775-1781), the Wyoming Valley was under the control of the shareholders of the Susquehannah Company. The townspeople cre­ ated their own government which was neither formally attached to Connecticut nor recognized by the settlers as subject to Pennsylvania authority. In January 1774, however, the Wyoming townships were organized under a general town name of Westmoreland and attached to the county of Litchfield, Connecticut. During this time Major John Durkee returned to active military duty in Connecticut. He participated in major battles of war for the patriotic cause, including Bunker Hill and the Battle of Trenton. Durkee crossed the Delaware River with General George Washington on Christmas Day 1776. He became Colonel of the 4th Regiment, Connecticut Line, in January 1776. His regi­ ment spent the winter of 1777-78 at Valley Forge. At the Battle of Monmouth, Durkee received a wound of the right hand which left him permanently disabled. He retired from active military service in 1781, and exhaustion from the war years contributed to his death in Norwich on May 29 1782 ' John Wilkes finally regained a seat from Middlesex to Parliament in December 1774, having also secured his election as Lord Mayor of London three months earlier. The Common Council of London and Wilkes protested the government's coercion of the Colonies in 1775, Wilkes comm Wilkes finally left politics in June— years, usually dressed in scarlet, gold lace and raffta , g /rnment his politicai op. Isaac Barre's political career is no longer cherish EMe P f wilkes wjth jjjs disfig- British Army. Ooverno, of Sterling C.stle, Vice- i �JOHN WILKES & ISAAC BARRE 20 JOHN WILKES & ta 1790. die same year as Wilkes. Colonel Barre, who w„ heidess,"died at his home on Stanhope Street, in Mayfair, London, on July 20, 1802. Events in the Wyoming Valley subsequent to the naming of Wilkes-Barre also had a colorful history. During the Revolutionary War, the settlers of Westmoreland organized troops to join Washington. Consequently the settlement was largely defenseless, which contributed to the in­ famous Wyoming Massacre of local settlers and militia by British and Indian forces in July 1778. In response, Washington sent Major General John Sullivan on an expedition which arrived in Wilkes-Barre in June 1779. Sullivan's troops marched into New York State to destroy the Indian bands known as the SixWar Nations. The Revolutionary ended with the surrender of Cornwallis at Yorktown on October 23, 1781. The TYeaty of Peace with England also ended the proprietary control of Pennsylvania by the Penn family. A new state government immediately asked the Congress to resolve the Penn­ sylvania-Connecticut claims in the Wyoming Valley. A court established at TYenton, New Jersey, ruled on October 31, 1782, that Pennsylvania owned the Wyoming Valley but that the claims of Connecticut settlers to land titles should be honored. The Connecticut settlers were not satisfied with the TYenton Decree, and in March 1783 a local delegation went to Connecticut to request the Connecticut General Assembly to petition the Congress for another trial of the Wyoming claims, but Connecticut took no action. A second Yankee-Pennamite War erupted in the Wyoming Valley in October 1783, ending with another Connecticut victory in November 1784. The Pennsylvania General Assembly created Luzerne County in 1786, and the claims of Pennsylvania and Connecticut settlers were eventually set­ tled, in general conformity with the TYenton Decree. SUGGESTED READINGS The best historical source for a study of frontier Wyoming, exhausting and masterful in de­ tail, is O. J. Harvey, A History of Wilkes-Barre (Wilkes-Barre, PA., 1929). Harvey also provides a full treatment of the various spellings and pronunciations of Wilkes-Barre. (The hyphenated Wilkes-Barre came into general use after the 1840s.) Harvey's work contains a large chapter on Wilkes. His chapter on Isaac Barre may be the most extensive history of Barre available any­ where. Other standard local sources are Charles Miner, History of Wyoming (Phil.: J. Crissy, 1845), and Stewart Pearce, Annals ofLuzerne County (Phil.: J. B. Lippincott, 1886). A children's history of the Wyoming Valley may be found in the reference section of local libraries: Louis Frank, The Story of Wyoming (Wilkes-Barre, PA., 1930). For the Valley’s west side, see William Brewster, History of the Certified Tbwnship of Kingston (Kingston, PA., 1930). An article or summary biogra­ phy of Isaac Barre appears in Proceedings of the Wyoming Historical and Geological Society (1900), VI, 113-136. // / <>/7' > | 0. 5. MjO Exhibitio; F. Charles Petrillo is a graduate of Wilkes College, Class of1966, and the Dickinson School ofLa- • He currently serves on the Executive Committee of the Board of Directors of the Wyoming Histonca and Geological Society and he has published several local historical studies in recent years. �A AC BARRE & 1SAAC ! stally blind in 1785, a consequence of his ment. Barre served in the House of Come year as Wilkes. Colonel Barre, who was air, London, on July 20, 1802. aming of Wilkes-Barre also had a colorful f Westmoreland organized troops to join defenseless, which contributed to the int by British and Indian forces in July 1778. llivan on an expedition which arrived in into New York State to destroy the Indian I I ( of Cornwallis at Yorktown on October 23, te proprietary control of Pennsylvania by f asked the Congress to resolve the Penncourt established at Trenton, New Jersey, he Wyoming Valley but that the claims of he Trenton Decree, and in March 1783 a hnnecticut General Assembly to petition but Connecticut took no action. A second ey in October 1783, ending with another rania General Assembly created Luzerne Connecticut settlers were eventually set- BARRe ■ I EKlS ■ LDINGS Vyoming, exhausting and masterful in de-Barre, PA., 1929). Harvey also provides a ations of Wilkes-Barre. (The hyphenated Harvey's work contains a large chapter on extensive history of Barre available anyHistory of Wyoming (Phil.: J. Crissy, 1845), • B. Lippincott, 1886). A children's history section of local libraries: Louis Frank, The Valley's west side, see William Brewster, PA., 1930). An article or summary biogramg Historical and Geological Society (1900), J O1J5 VHLKS ,Ek SQ;< Jr/fa G. S. McClintock I Collection | Exhibition No. 5 �IV I I, K E S & ISA A C BARRE JOHN WILKES & IE u. ... . A. \ r : a . -•, v - - W v '■ ' .■% a. -■ i-'A- ■ ’ ■> Exhibition No. 6 Exhibition N �KES & ISAAC BARRE JOHN WILKES & ISAAC BARRE 23 i i i - lyfeni ber or fcrl iKntcttil fol A vlesb u r \ i = ? i —=== ,g==r-= __ i Exhibition No. 6 ? «< ■ ilcGe.l wrllioi.il■ TiiJe/bcj-e n <1 boi <u u • I1-1 Jiicli.cv.'iiwiicft pl u:u<.ieo<L,ljoiiu ur (.i.'vlu to ■ o;. ■ . LoviLwi'thovLY'tHiil-i. & lelLwtl williom ho. A. At1311(110 , iiui.' '.otfLcL: (ircu, tin. in iiie to'.Vile- fiBBIi ¥ iiSHifiS® / ... .......... ■ ■ Exhibition No. 7 ■ ■" ■ ■ �JOHN WILKES ISAAC BARRE JOHN WILKES & I S A Exhibition No. 11 ��V' I? JOH & ISAAC BARRE JOHN ;-V I L K E $ I ’ ILKES & ISA/ I 26 > hi h Brentford in its G,ory . Or, Wilkes in TRIUMF L JI Mr.a'1 Jal J so 0 mIMM. ■'■F 1 aa*:.'$,i7 @sO jfe. . 0! ■ assBF ao fes»3MM ■< . I <■ WW : - ^3a=s=l zT^N Thorfdiy March the 24th 176S, John Wilket, Efq; frt out for your iervice. I am confciooshow unequal my abilities are, my fidelity u )). accompanied by fevenl others, coach and four, to and integrity (lull in fotne meafure compenCue that deficiency, il I am ers, in in aa jnft p ujeiex, to oner canai-­ honoured with fo near a relation to you. I (hall diicbarge my farvice with Erentford, in the County ol MiJdJefex, offer nimtcii himfelf a candi tcckedthegreateft approbation fpirirand affiduity in which I may have the honour of being pheed. date for th*, c jfu ng Eleclion, where he rec w ,t 1:1----------r ‘ On the Monday following, being the day of Election, John Wilkes, cf nuny ol the Freeholder*, and excepted1 of’’ as a candidate to reprefent that County, when he afterward' made the following Speech. Efq; came into Brentford Town, about eight o’clock, in a coach, drawn In dclctence to the opinion of fame very refpeclable friends, I prefume by fix grey horfes, adorned With blue rbbons, attended by feveral of the ta cI1t mjfelf a candidate for thir. nobfe County of Middlesex, at the nobility, where he was received m a very polite manner by the fherifl of eefa ng general e!eAton,lhe approbation you havehten plea fed on feve­ the County, and 'ozhe great joy of ali the inhabitants, he immediately nl occafjun to exprefsof my conduft, induces me co hope that theaddrefs mounted the Huflings where he continued untill near oneo’clock before I have now the honour of tnikin 4 to you will not be unfavourably re­ the two o.her candidates came. As foon as they arrived into Brentford ceived. 1 he chief merit v, iih you Gentlemen, I know to be a facredlove Butts, the place where the Booth was erected, their horfes was, by demand cf LIBERTY, and of thofe generous principles, which at firft give, and of the populace dripped of their ribbons, which was the fame colour as k*ra finx fccured to this, my native kingdom, the great chatter of Frce- Mr. Wilkes’s, before thev wore fuflered to proceed to the booth. As foon r. I w.ll j ie!d to none of my coun'ry men in this noble zeal, which has ai they came Upon the Huftrngs, there was a fhew of hands which was a.w y; characterized Enghfhmen. I may appeal to my whole conduct, given in favour of Mr. Wilkes and Sir William Proctor, when Mr. Cooks h □ «nd out of Parl'J.nent for the demonflration that fuch principles demanded a poll, which came on immediately, the poll books,r which s. -e d.cpiy noted in my heart, and that I have fleadily purfued the in-was fifteen in number, one f~~ rizh ------i-r—1 *ui for each divifion, were notclofed till K«ir hilf r>,ft part 9i ,J «*ait7 without regard to the powerful enemies I created, fevea when the numbers flood thus. '-r:/"ft dangers in which I muft thence neccffarily be involved; J 293 For John Wilkes, Efq; r ’■ , .V’hc dD:ieiof a Rood fubject. The two important 837 For Wtlliim Cooke, Efq; \ hvj of LIBER IY, refpccting Geieral Warrants and the fei807 For Sir William Beacham Proctor , 7 \', ' ; l'‘r^hap* pl.ee me among thofe who have deferred w«;i <a :.4 by u iMwhunted firmnrft 1 iThe Cryer then demanded filence, when the court broke up for that . c! r .■. a undaunted firmuefj, perfeverar lb... 1. ■ L w„b which vmtAniT r 71 “jd pr“b"Z: «ho next rooming at nine o’clock the (henll opened ------- tha alter which y , nd affection Exhibition No. 15 ,----- cntkaviw toJu^rf ibitUCssmty CiMlyin«t>tbi I blhjl bejlntM/ft* auwII I - Exhibition No. 18 �AC BARRB ilkes in TRIUMPH. e v, zi "j &e grec <n f the »'?::££ o r.etciri--i'-« £so«. <-.-. a « Kj&a wbattbc Booth w»twcsad. fflBrharhs<M?^'4sp»»i lb ffU el the ; ’ «Li£l ->~ 'l£-'z - -.-t u l.-:-'..t v;?.' :.;• ......._• ’--- -L- E — u.. . 'lx- •:' ■_ _ t _ i Ursa ci Mr V.. kc. i£_; V. . -.z i-.jzz.-r. t Mf. Ga'Jjx :2 j r.'_. J - ;.. •_ . -^aiii bu-Jfj Gi4 c.-sL^i. we?s hes t-^K'n (had F--J Jchs. Vk ths, 5; - s Fat %‘u.is GkIe, t; J F :< Sa Wd._3 uc.^L=> F css<i? ■;7 Cjjrer tfe. B kai cc^iBdad fclea®. w!xa we ®sn “>rdLe fsr ^z-Z g.ifeithai mu Eia’acg a u;?.s. o'Ctedi 'b‘ fbsr.9 e&e&ed r?-s *>*4? tea?,, V1Ltlftiiadjrfj L^frir Sj ti.' Cra=^ Mi. Vi �JOHN WILKES & ISA; Engravdforthe-fclait (/e/t’(///ie /> < Exhibition No. 22 �V/LA'55 & '■ \ RE JOHN WILKES & ISAAC BARre 29 I I ^Engrwdfr)- th^JPoliucai,^^. I "-A I - Exhibition No . 21 f ~>W \ ( Exhibition No. 22 �& ISAAC BARRE JOHN WILKES JOH l ■■ \ ) R Gra? : . . . e Right j -• ■'f I KES & ] : of t ‘ tOR op BB At th.- United Requeft of p£ LIBERTY I ^AJ’JtAOJ’-JCJC XT?: J’JJojis E X P L A Exhibition No. 24 R M S. 1. A General Warrant torn to nw 2. A Bunch of broken K-ys, denotia the Ruin of arbitrary Paner. 3. The Tower of London, the Go: wide open, with a Flag bearing the wiv Horfe (the Arms of the illuttnous H:a of }{an-.z'e.r) and Magna Charta, d noting Fit.den: to all loyal Sa j^s ar Friends to the Conjlitution ; the or* Habeas Corpus, under the open Gan imply, that no Briti/’j Sidjcdi can I impri/bned contrary to Lata. 4 and 5, Two Mefi-yers in Moun ing, with a Handkerchief in one Ife lamenting their loll Places ; and in. tl other, a Staff with a GryENind on denoting their Offices# . Exhibition �tc BARRE TJJO/IS �> JOHN 32 WILKES & ISAAC BARRE JOHN WILKES & I I j ' !. -i '■''I J I H I I 1 f1/"' !X • t- v. . I jiaiM/no xfvi-.i. t-«5» T*ait«"J' j>f Chib* !' .rj-er C - 11 ’'I'- I—;r>f r,li. i>Ur <r!. ...-■ < UGIT A' !9I< -a.MMl THE HAIH. i !■! ; , . « ~U1- I tW-. ; TW-^d C/‘I eV ■JEAN 'Vi ILKES^Ac7/^,7 ; Ehi Aiderman de Londrcj, lc 2 .janvier 1760. Exhibition No. 35 i ! H / ) VI ft ffimmi/ ( /umr/ee I'/idt / y.rh/,.. Exhibition �>AA C BA RRE Io. 35 JOHN WILKES & 1SAAC Barre J \ ,4-v 7'■ iI 1 r :? ^MFQJLl AIUTANTUR. ' 'I-FTrn Lo':Q7'Tirki-t. ; “ -'IL-NG0S5LULYR0NIES. ; ^Hckeu / BAXL-PARE. SJ^g---^GDOTTOALFRESCO/ SiducfthtHAT. I two Tabus. -^Alu^e of Qabj £ oi.er Cards- / ^boxoff^eDice.wuh-iliis CO G IT AMORNUiO-I1- EXPLAXATI ONofthe C01OU RSA \\ealliLTvocli.Ai,lI<'w'. Cap of Liberty.'W’liito. }L>t,<kejjiai(rtU,nmtniilenir.tlii.ilt,epBlttf. Tables on Dino, brown. Jo click s. firfl fri in solid aftjttue. Hair.rijJJjt"Side,Saii«lvJeftJBrinni lCoaijrr’lit.Bluediiiu)v,OriUig<-, 1 e ft,( )range;liningjlhie. THE HAIRQu«c & R®rd-wiih ngit-Svte • R0ADT01?BEj®k beltishc^^ the Wai ftco a t.rigln, Plad,left,Blue. J< I H. V ^. taumer •4d / ) f/Wf< an / .C/w':///■ Exhibition No. 37 �JO < H ; i: I �& ISAAC BARRE .Z.'. r:-niir, /~Si £2 ts s> k K R E- bition No. 38 6 Z g �JOE . 36 JOHN WILKES & ISAAC BARRE ;S <1 ■ �4 C BARRE JOHN WILKES & isaacbarre 37 ^7^.5TTY'?‘ j.? I i 5 ! I £ ■ If/ & & - fl 11 ■ ��lkes & ISAAC BARRE JOHN WILKES & ISAAC BARRE 39 ! i r - •* o of ■41^; M ) W'7' y BwB .W 1 1 » 1 - 0® Exhibition No. 30 Exhibition No. 44 �I O II N IV / I. K B S & ISAAC HA R R E 40 22. 23. CHECKLIST OF THE EXHIBITION (All dimensions in inches, height proceeds width. Unless otherwise noted all items are engravings.) 1 1A. IB. 2. Barre, Isaac: DER GENERAL WOLF, c. 1759, Gemahlt von B. West; Gegraben von Carl Guttenberg 9 1/2 x 12 1/2. Barre, Isaac: Wolfe's Tbd in der Schlacht bei Quebeck. n.d., Stahlstich Von F. Randel in Berlin, 14 x 17 3/4. Penciled on back: from J. T. Mitchell Collection. Barre, Isaac: THE DEATH of GENERAL WOLFE, n.d., Painted by B. West Hist. Painter to King of England; Engraved by P. Somebody, 7 1/4x7 5/8. Wilkes, John: John Wilkes Esqr., Drawn from the Life and Etch’d in Aquafortis by Willm Hogarth Publish'd according to Act of Parliament May ye 16. 1763, 20 1/4 x 15 1/4. BM 4050. Wilkes, John: Untitled, n.d., Dent Sculp. 9 1/16 x 5 1/2. BM 4050-1. Wilkes, John: John Wilkes Esqr., n.d., grave d’apres 1'original du Sieur Hogarth a Londres, 111/4x73/4. 2A. 3. 4. Wilkes, John: Untitled, n.d., 7 1/2x4 5/8. 5. Wilkes, John: JOHN WILKS (sic) ESQR., n.d., Hopwood sculp. Attached signature, dated 1775 in pencil: John Wilkes Mayor, 7 1/8 x 4 1/2. 6. Wilkes, John: Untitled, n.d., Political cartoon with captions, 10 1/2 x 12. 7. Wilkes, John: IOHN WILKES, Esqr., Member of Parliament for Aylesbury Bucks, I. Miller del. et sculpt.; Publ: acc: to the Act June 30. 1763, 14 1/2 x 10 1/2. 8. Wilkes, John: IOHN WILKES, Esq., n.d., 6 11/16x4 1/8. Penciled on back: from Mitchell Collection. 9. Wilkes, John: Untitled, Engrav’d by Bickham according to Act of Parliament, June 1763, R. E. Pine Pinx; G. Sibelius Sculps, 10 3/4 x 9 1/8 . 10. Wilkes. John: IOHN WILKES, Esqr.. Late Member of Parliament for Aylesbury, Published according to Act of Parliament, 1764., (Also in Dutch), 14 x 10 1/2. 11. Wilkes, John: John Wilkes Esq., n.d.,Neovingri Academiae Caesareo Franciseere Excud. Aug. Vind.: Cum Gratia et Plivilegio Sac. Caes. Majestatis.: loh Philipp Haid Sculpsit, 19 1/2 x 13 1/2. 12. Wilkes, John: IOHN WILKESEsqr., n.d., J. Miller Sculp., 8 3/16x5 1/4. 13. Wilkes, John. John It ilkesEsqr, n.d.. Engraved by E. Bocquet, From an original picture bv Pine Pub by Sherwood, Neely and Jones, Paternoster Row., 10 x 7. 14 vivn,' !2%N, WILKES‘ ELECTED KNIGHT OF THE SHIRE FOR MIDDLESEX ON THE urii II Ot M?RCH MDCCLXVIII, BY THE FREE VOICE OF THE PEOPLE, n.d., 6 7/8 x 4 3/8. Wlikes in oval, surrounded by Athena and Hercules. 15. Wilkes, John: Brentford in its Glory: Wilkes in TRIUMPH, 1768, Broadside with woodcut, 18 3/4 x 14 1/2. 16. Wilkes John: Part of Mr. Wilkes's Speech to the Court of Common Pleas., n.d., ]. June Sculp, 13 x 8 3/4. Illustration at top with portrait of Wilkes. J 1 17. 1Wdkes, John. John Wilkes Esq; before the Court of King's Bench. From Gent Mag. May 1768.8 1/4 x 7 7/8. l« Wilke ,, Job *'hn l’> .<-• or lheSurn> Justice, 1768, 6 1/2 x 3 15/16. BM 4201. Wilk \ John. ARMSolLIBERJ Y mn/.S7 ,-ll L/i 1: (Letter) 'lb the Gentlemen, Clergy and Freeholders ol th.-County of Middl<-s.-x, from John Wilkes, King's Bench Prison, Saturday, June 18, 176S, 14 3/4 X 8 15/16 UM 4207. Witk<:a John Al, Lerjcant < ,7.i7v; JOHN WIL KES Esq */': The Reed Mr. JOHN HORNE. n.d., Richard -s. John. A iled f... th 1 73/4x4 3/4. BM 48 ' John: YOUR VOL x 7 3/4. Small campaign j 24. Wilke John. PATRIOTIC 25. John: ARMS Cra. ■' ASSERTOR OFBRH 26. Wilkes, John: JOHN Wil h qr. Member for Middles 27. V. ilkes, John: THE BALL A IOHN WILKES. LORD MA 28. Wilkes, John: John Wilke iished by Longman & Co. 29. Wilkes. John: JOHN WILK 30. Wilkes, John: XfVJWUkt 6067. 31. Wilkes, John: The COTTzine, Published by J. Sew 32. Wilkes, John: IOHN WI Mitchell Collection. 33. Wilkes, John: Untitled, n. veto. luv.", 4 1/16x4, m< 34. Wilkes, John: JOHN WIL 35. Wilkes. John: JEAN WIL mounted on paper 11 3/4 36. Wilkes. John: John Wilkes, 37. Wilkes, John and Lord B querade at Lincoln, Deer. 4315. 38. Barre, Isaac: COLONEL 39. Barre. Isaac: THE RIGH Engraver to his Majesty 40. Barre, Isaac: Untitled, n.i ant Isaac Phipps, 9 3/8 x 41. Barre, Isaac and John W Am: 1782, Razo Rezio in BM 5982. 42. Barre, Isaac and John W 118 New Bond Street. 9. 43. Barre, Isaac: JOVE in his Lent by The New York P 44. Barre, Isaac: XII [Colom 3/8. Lent by the William 45. Barre, Isaac: The Royal j Published according to c by the American Antiqu 46. Barre, Isaac: The Right H don, From original Pictu Evans, Engraved by W.T sity of Michigan. 47. Barre, Isaac: Colonel Ba Engraving. (15 5/16 x 13 48. Wilkes, John: John VVi/k, �bl ISAAC BARRE JOHN WILKES & ISAAC BARRE 1771*7 3°4x43KBM4868.e>le/Jr 41 Ministr>' Design'd and Engrav'd for the Political Register, 24. W^eS’Jolm'-P^RIOTICKMETEORS, 1771, 43/4xy ii2.penc[\edonb>ottonv]Wiikes-Bty[4887. ' don, ASSERWR OF BRHISH^^ED^M^'lTGS^lAl^^xg uf BM 4206^" HE EXHIBITION 26’ Es^M^ height proceeds width. 1 items are engravings.) :mahlt von B. West; Gegraben von Carl Guttenberg, .’beck, n.d., Stahlstich Von F. Randel in Berlin, 14 x Uection. ’E, n.d., Painted by B. West Hist. Painter to King of 8.' le Life and Etch'd in Aquafortis by Willm Hogarth, ■e 16.1763,20 1/4 x 15 1/4. BM 4050. x51/2. BM 4050-1. > 1'original du Sieur Hogarth a Londres, 111/4x7 3/4 . Hopwood sculp. Attached signature, dated 1775 in ith captions, 10 1/2 x 12. of Parliament for Aylesbury Bucks, I. Miller del. et 12x101/2. > x 41/8. Penciled on back: from Mitchell Collection. ccording to Act of Parliament, June 1763, R. E. Pine ber of Parliament for Aylesbury, Published according to 01/2. \cademiae Caesareo Franciseere Excud. Aug. Vind.: loh Philipp Haid Sculpsit, 19 1/2 x 13 1/2. ler Sculp., 8 3/16x5 1/4. by E. Bocquet, From an original picture by Pine, Pub w., 10x7. IGHT OF THE SHIRE FOR MIDDLESEX, ON THE FREE VOICE OF THE PEOPLE., n.d., 6 7/8x4 3/8. rules. °f^don & Membr for Middlesex., JOHN GLYN, aprilxvii. mdcclxxv, the right honble OHN WILKES, LORD MAYOR, G.B. Cipriani inv. et del; F. Bartolozzi Sculp 1775, 8 x 7 1/8. 28. IUHaH S'J°hn:^o/ln ™Mes,Esqr., Engrav'd by Freeman from an Original Portrait by Zoffani. Pub­ lished by Longman & Co. November 5, 1804, 6 1/8x3 7/8. Penciled on back: Mitchell Collection. 29. 1y<7.<^eS' WILKES, ESQ., n.d., 4 3/4 x 2 7/8. Penciled on back: from J. T. Mitchell Collection. 30 6067 eS' JOhn: X/^!Wilkesl' JS ff(Sayers), Published 17 June 1782 by C. Bretherton, 81 1/2 x 6. BM " ' 27 31. Wilkes, John: The COTTAGE of the late JOHN WILKES Esqr. in the ISLE of WIGHT, European Maga­ zine, Pubhshed by J. Sewell, Cornhill, April 1, 1798, Engraved by S. Rawle, 5x8 1/4. 32. Wilkes, John: IOHN WILKES Esq., n.d., J. Miller at viv: feet., 5 5/16 x 3 3/4. Penciled on back: Mitchell Collection. 33. Wilkes, John: Untitled, n.d., "Civis erat, qui libera poiset, Verba animi proferre, et vitam impendere vero. luv.", 4 1/16x4, mounted on paper 12 x 9 1/2. Penciled on back of mount: John Wilkes. 34. Wilkes, John: JOHN WILKES Esqr, 1768, 8x43/8, mounted on paper 15x 11. BM4204. 35. Wilkes, John: JEAN WILKES, Ecuyer, Elu Aiderman de Londres, le 2. janvier 1769, 8 1/4X 5 1/4, mounted on paper 11 3/4 x 8 3/4. 36. Wilkes, John: John Wilkes, n.d., No. 37., Franz Heissig Cath. Sculp, et excud. Aug. Vind., 11 5/8 x 7 3/8. 37. Wilkes, John and Lord Bute: The Times, Taken from an Original Character which appear'd at the Mas­ querade at Lincoln, Deer. the21st. 1769, 14 l/8x 10 1/2. Written in ink at bottom: Captain Wilks. BM 4315. 38. Barre, Isaac: COLONEL BARRE, London Mag: May 1780, 8 5/8x5 3/16. 39. Barre, Isaac: THE RIGHT HONORABLE ISAAC BARRE, Painted by C. G. Stuart; John Hall sculpt Engraver to his Majesty 1787, 14 x 10 1/2. Penciled on back: from the James T. Mitchell Collection. 40. Barre, Isaac: Untitled, n.d., Manuscript letter from Isaac Barre to Lord Shelburne regarding Lieuten­ ant Isaac Phipps, 9 3/8 x 7 1/2. 41 Barre Isaac and John Wilkes: The POLITICAL MIRROR, or an EXHIBITION of the MINISTERS for April 1782, Razo Rezio inv. Crunk Fogo sculp, 513/16x9. Lent by the American Antiquarian Society. BM 5982. 42 Barre Isaac and John Wilkes: BANCO to the KNAVE, Pubd. April 12th 1782 by H. Humphrey, No 118 New Bond Street. 9 3/8 x 13. Lent by The New York Public Library. BM 5972. 43.1. Barre, Isaac: JOVE in his chair, Pubd. Septr 11th 1782 by E. D'Achery St. James's Street, 9 x 13 1/8. Lent by The New York Public Library. BM 6032. 44. JMPH., 1768, Broadside with woodcut, 18 3/4 x 14 1/2. lourt of Common Pleas..., n.d., J. June Sculp, 13 x 8 3/4. King's Bench, From Gent. Mag. May 1768, 81/4 x 7 7/8. 6 1/2x315/16. BM 4201. 46. !he Gentlemen, Clergy and Freeholders , rungs Bench Prison, Saturday, June 18,1768, 14 3/4 '. BM 4268. 13 5/8). Lent by the Williai ��f' - 0i Bih ■ • •: ■ < "■:. .1 :■■■ 5.-: <-•?>.—•. ■■; .• Of . i " -S By - ■':. B ‘ ■ < • * : •-• ?3.\? a . 3; I / 7 ;-Si � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1988 June 19 John Wilkes and Isaac Barre: Politics and Controversy in Eighteenth Century Graphics Creator An entity primarily responsible for making the resource B. West Hist William Hogarth Bickham E. Bocquet Freeman S. Rawle C.G. Stuart Harold E.Cox F. Charles Petrillo Annie Bohlin F. Charles Petrillio Date A point or period of time associated with an event in the lifecycle of the resource 1988 June 19 - June 24 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The active poltical lives of John Wilkes and Isaac Barre coincided with the golden age of portraiture perhaps not by coincidence. The exhibition speaks to both the politics of the two men and the illustrations that depicted them. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/7a95612ca718db0c2cbe3b549d83cb9f.pdf ea996c82b4291475a792397e107133be PDF Text Text A Lfj BOB HAGGARD PAINTINGS Sordoni Art Gallery Wilkes College SORD GA ND237 H185A4 1984 �Bob Haggart: Paintings Sordoni Art Gallery Wilkes College Wilkes-Barre, Pennsylvania March 11 through April 8, 1984 Front Cover Photo: Days of Wine and Roses, 1983 Oil on board 12 x 16 Copyright © 1984 Sordoni Art Gallery, Wilkes College All rights reserved. i �IntrodJ Others who have lent their assistance to this program are: Jerome Campbell, Bob Wilber, Al Groh, and my father, Chadwick Hansen, who first explained “The Big Moise from Winnetka.” To the artist, Bob Haggart, and to his wife, Windy, we extend our gratitude for their enthusiastic help in organizing this exhibition. A great love is felt by these two people for all manifestations of the fine arts. Mr. and Mrs. Andrew J. Sordoni III have expressed their own love for music and painting through commitment and support for this exhibition, for which we are also grateful. Judith H. Toole Director 2 The invitation to Bob Haggart for a Celebration of his Music and Art comes as a result of two happy circumstances. First, the artist is a world-class musician and accomplished painter; and, secondly, Wilkes College is dedicated, in spirit and facility, to presenting worthwhile, cultural experiences to its students and to the community at the Dorothy Dickson Darte Center for the Performing Arts and at the Sordoni Art Gallery. In one major artist, then, and at one location in Wilkes-Barre, Bob Haggart and the administration of Wilkes College through both its Department of Music. Jerome Campbell, Chairman; and the Sordoni Art Gallery, Judith O'Toole, Director, could come together in a balanced program of music and art. From his own comments, students and community alike will learn 3 �Introduction assistance to this program /ilber, Al Groh, and my 5 first explained “The Big Judith H. Toole Director The invitation to Bob Haggart for a Celebration of his Music and Art comes as a result of two happy circumstances. First, the artist is a world-class musician and accomplished painter; and, secondly, Wilkes College is dedicated, in spirit and facility, to presenting worthwhile, cultural experiences to its students and to the community at the Dorothy Dickson Darte Center for the Performing Arts and at the Sordoni Art Gallery. In one major artist, then, and at one location in Wilkes-Barre, Bob Haggart and the administration of Wilkes College through both its Department of Music, Jerome Campbell, Chairman; and the Sordoni Art Gallery, Judith O'Toole, Director, could come together in a balanced program of music and art. From his own comments, students and community alike will learn that Haggart uses the same creative impulses and sensitivities in creating arrangements, compositions and paintings. Through direct experiences, listeners and viewers can form their personal impressions of the message that is contained in each and every Haggart expression. We are pleased to present this major talent in his sixth decade as a performer and to know that the college and the community will enjoy his music, his paintings and his friendship. Andrew J. Sordoni III Wilkes-Barre, Pennsyluania February, 1984 3 �The Music and Paintiil Recently, I visited the home of a friend who owns one of my early paintings. When I saw the painting, I got the same kick that I get when I hear one of my early arrangements. When the Sarasota Jazz Festival asked me to bring some of my paintings to exhibit, my first reaction was to show things along musical lines. I have many small still life pictures which do suggest music to me. My initial thought was to show this relationship by using song titles to describe the paintings. This idea seemed to be provocative and often amusing and added another dimension to the still-life subjects which often have a very calming effect on the viewer. Sometime the titles get a laugh, which isn’t all bad. Bob Haggart To me, there is a definite parallel between composing a piece of music and painting a still life. The play of light in figurative art is very similar to the play of counterpoint in music. As one attempts to create these effects of light and shade, music and painting seem to go hand in hand. In forming a still life, or in orchestrating a beautiful piece of music, there is an identical search for good balance, color, form, and space. The end results seem to have a similarity as well. The finished painting will acquire a life of its own, living on, hopefully, to give pleasure to the viewer. The written arrangement or newly composed melody will lie dormant until it is performed by a group of musicians. Only in performance can it spring to life, bringing excitement and joy to the listener. Whether putting notes on a sheet of score paper, or daubing a loaded brush on a canvas, its the same trip! At the turn of the century there was a great discussion among creative people about the inter­ relationship of all the arts. Struggling to break free from the bonds of representation, painters and sculptors looked with envy to their counterparts in music. Here was a medium totally free from the concrete world of the object. The inherently abstract quality of a musical composition created a parallel to the world of reality rather than a dependency on that world, as in the visual arts, for images with which to convey their meaning. The Russian modernist, Wassily Kandinsky, wrote about the link between music, literature, and the visual arts in his book, Concerning the Spiritual in Art. As a child, Kandinsky had been equally fascinated by painting and by music. He used musical terms such as melodic and symphonic to describe his own paintings, which he hoped would, like music, speak to the soul of a subject rather than simply describe the outer image. Similarly, Bob Haggart found himself torn between his two great loves, painting and music, when he had to choose a career, A student under Kimon Nicolaides at the Art Student’s League since high school, Haggart nevertheless chose jazz. This decision was prompted by his first gainful employment as a bass player for a band touring the Bahamas.1 Haggart never abandoned his painting, however, and throughout a busy and prominent career in music he has still devoted many hours to his other passion. Haggart joined the Bob Crosby Big Band, led by a brother of Bing Crosby, in 1935 and was a member of the smaller inner circle called the Bobcats. It was during breaks in their program that Haggart began to compose on the piano. His first composition was later recorded by Bing Crosby under the title of "What s 5 4 �The Music and Paintings of Bob Haggart iend who owns one e painting, I got one of my early sked me to bring first reaction was have many small lusic to me. My ionship by using This idea seemed I and added another nich often have a ametime the titles laggart At the turn of the century there was a great discussion among creative people about the inter­ relationship of all the arts. Struggling to break free from the bonds of representation, painters and sculptors looked with envy to their counterparts in music. Here was a medium totally free from the concrete world of the object. The inherently abstract quality of a musical composition created a parallel to the world of reality rather than a dependency on that world, as in the visual arts, for images with which to convey their meaning. The Russian modernist, Wassily Kandinsky, wrote about the link between music, literature, and the visual arts in his book, Concerning the Spiritual in Art. As a child, Kandinsky had been equally fascinated by painting and by music. He used musical terms such as melodic and symphonic to describe his own paintings, which he hoped would, like music, speak to the soul of a subject rather than simply describe the outer image. Similarly, Bob Haggart found himself torn between his two great loves, painting and music, when he had to choose a career. A student under Kimon Nicolaides at the Art Student’s League since high school, Haggart nevertheless chose jazz. This decision was prompted by his first gainful employment as a bass player for a band touring the Bahamas.1 Haggart never abandoned his painting, however, and throughout a busy and prominent career in music he has still devoted many hours to his other passion. Haggart joined the Bob Crosby Big Band, led by a brother of Bing Crosby, in 1935 and was a member of the smaller inner circle called the Bobcats. It was during breaks in their program that Haggart began to compose on the piano. His first composition was later recorded by Bing Crosby under the title of “What s New? and has since become a hit song for Linda Ronstadt. Haggart is perhaps best known for his “Big Noise From Winnetka" in which he whistles and picks the strings of his bass while a drummer plays on the strings. Another of Haggart’s originals is the wellknown "South Rampart Street Parade." Haggart has worked with many famous singers including Perry Como and Frank Sinatra. In 1968 Haggart and trumpeter Yank Lawson organized the World's Greatest Jazz Band which featured some of the legendary players in jazz. Even as Haggart’s reputation as a musician brought him public notice and fame, he continued, privately, to paint. Not only during his more quiet winters in San Miguel, Mexico, but also on the road and while at home in New York City, Haggart is always at work on a few paintings. Although he has experimented with a variety of techniques, such as the post-impressionist squares of color in Provence and the Cezanne inspired Take Five, Haggart has achieved a distinctive style marked by strong, well-structured compositions and a brilliant use of color. The two art forms, music and painting, are further united when he titles his pictures after a musical composition. More easily adapted to still-life than to landscape, some titles include: Take Five, Stealing Apples, Apple Honey. Horse's Tail Blues, and Melon Time in Dixie Land. Not restricting himself to jazz tunes, Haggart also names his images after classical music — Love for Three Oranges, Prokofiev, and Pop — Days of Wine and Roses (by Henry Mancini). Haggart’s paintings have long been admired. His works are in numerous private collections in this country, Mexico, and Canada. However, the priorities of his musical career have not allowed him the time to 5 �■M cz ■■Ml Checklist of the I I organize and exhibit his paintings. This exhibition is the first significant opportunity to view over forty of his works in one gallery. Although Haggart's images are more realistic in nature than those of Kandisky, they are similarly interpretations of the visual world. Heightened color, unusual perspective and refined shapes draw the images away from a specific time and place and make them open to fresh examination and interpretation as in a piece of music. Rarh<T than rnir.ir. b.-ing : painting, perhaps for Hoggart, pahitt.-.g to understand music. All dirnt-n . on , .b1 >n inc The New York Paintings Judith H. O’Toole Direr lor I. Variations 1976 ■1 The. European Paintin; I W ///; i/j, • 10 Proierr c 1969 Oil on canvas, 24 i Oil on canvas, ’>() • 40 I Th.-, and other biographical cdarrmr > .. .. by Mary Lm Hester for The M, .e-.-.i;.;.: pj., , J...... •'”‘3 f>> rin 193 Ij |h ?. Koi 1 I. View of Morttrnjrtn Bae, 1967 Oil on canvas, 16 7, "’ll T.l-flld, 1968 Oil on < .inv.r., height prec edes width. AV 1 x 27 12 Cite Moder nc. 19f Oil on canvas, 25 3. Tii’iif Yoik Inlerioi. 1970 < III on < anva... .‘A >. 14 Collection Mrs. Rota-it H .in 4. Th-ui York Interior. II. 1970 Oil on canva 24 x 30 13. (.b- k Tower in U9 1982 Oil on canvas boa 5. I ii-.l Ruif'r, 'jii.’fri-.!. ;/<• 1972 Oil on canva ., 23 z 26 14. < I'j'k Tower tn A' 1982 Oil on canvas boa 6. r.rj'.l Rioi-r I ookinrj c Trihoro 1972 Oil on canvas, 28 x 24 7. Kooseue/t Island, 1969 Oil on canvas, 16 x 24 8. Churr h on 42nd Streel, 1983 Oil on canvas, 16 x 20 9. Sunday Morning on 43rd Street, 1983 Oil on canvas, 16 z 12 15. Ctor 1 Touerir ?/ 1982 Oil on canvas bos The Mexican Paintinj 16. /gfesij Atotorui- s, or. ' i- _ i 7. DllSpWe, :a !.• :■_ :4 Rain/. 1983 Oi: or. canvas 20 �Checklist of the Exhibition : being a way to better understand r Haggart, painting is a better way Judith H. O’Toole Director hical information was provided by an article The Mississippi Rag (December 1983). All dimensions in inches; height precedes width. All works for sale unless otherwise indicated. The New York Paintings 1. Variations on a VW Theme, 1976 Oil on canvas, 30 x 40 2. Rooseuelt Island, East Riuer, 1968 Oil on canvas, 21 x 27 3. New York Interior, 1970 Oil on canvas, 24 x 34 Collection Mrs. Robert Haggart 4. New York Interior, No. Il, 1970 Oil on canvas, 24 x 30 5. East River, Queensboro Bridge, 1972 Oil on canvas, 23 x 26 6. East Riuer Looking at Triboro, 1972 Oil on canvas, 28 x 24 7. Rooseuelt Island, 1969 Oil on canvas, 16 x 24 8. Church on 42nd Street, 1983 Oil on canvas, 16 x 20 9. Sunday Morning on 43rd Street, 1983 Oil on canvas, 16 x 12 The European Paintings 10. Provence, 1969 Oil on canvas, 24 x 36 11. View of Montmartre, Rue de Bac, 1967 Oil on canvas, 16 x 14 12. Cite Moderne, 1967 Oil on canvas, 25 x 20 13. Clock Tower in Waiblingen, I, 1982 Oil on canvas board, 10x8 14. Clock Tower in Waiblingen, II, 1982 Oil on canvas board, 10x8 15. Clock Tower in Waiblingen, III, 1982 Oil on canvas board, 10x8 18. Las Casas de Atotonilco, 1983 Oil on canvas, 16 x 20 19. Capilla Vieja, Old Chapel, 1983 Oil on canvas, 20 x 16 20. Vista de la Aldea, (View from our house), 1981 Oil on canvas, 24 x 24 21. Atardecer de San Miguel, (San Miguel Sunset), 1977 Acrylic on canvas, 18 x 22 22. Templo de San Francisco, 1977 Acrylic on canvas, 18x14 23. Las Ninas Tristes, 1982 Oil on canvas, 20 x 24 24. Calle de San Miguel, 1981 Oil on canvas, 20 x 16 The Mexican Paintings 25. La Poerta de la Hacienda, 1979 Oil on canvas, 16 x 20 16. Iglesia Atotonilco, 1983 Acrylic on canvas, 22 x 18 26. La Samaritana, 1982 Oil on canvas, 24 x 16 17. Duspues la Lluuia, (After the Rain), 1983 Oil on canvas, 20 x 24 27. Parque Juarez (French Park), 1978-79 Acrylic on canvas, 30 x 40 Collection Mr. and Mrs . Henry Haegg �The Still-Lifes 34. Baby Face, 1983 Oil on board, 14x18 28. Composition for Brass, 1975 Oil on canvas, 29 x 26 29. Tangerine, 1982 Oil on canvas, 12x16 30. Take Flue, 1975 Oil on canvas, 14x18 31. The Old Master Painter, 1981 Oil on canvas, 12x16 32. Stealing Apples, 1981 Oil on board, 8x10 33. Strange Fruit, 1982 Oil on canvas, 14x18 35. Rosey Apples, 1983 Oil on board, 14x18 36. Loue for Three Oranges, Prokofiev, 1983 Oil on board, 14 x 18 37. Red Onion Blues, 1982 Oil on board, 14 x 18 38. Tea for Two, 1982 Oil on board, 14 x 18 39. Apple Honey, 1982 Oil on board, 12 x 16 40. Days of Wine and Roses, 1983 Oil on board, 12 x 16 41. Life is Just a Bowl of Cherries, 1983 Oil on board, 12 x 16 42. A Tisket A Tasket, A Little Yellow Basket, 1982 Oil on board, 16 x 20 43. Melon Time in Dixie Land, 1983 Oil on board, 16 x 20 44. Red Grapes, 1983 Oil on board, 14 x 18 ^983^ ‘n ^emon and Bme, Oil on board, 14 x 18 46. Horse's Tail Blues, 1983 Oil on board, 14 x 18 �t a Bowl of Cherries, ird, 12 x 16 A Tasket, A Little sket, 1982 ird, 16 x 20 e in Dixie Land, 1983 ird, 16 x 20 ■s, 1983 ird, 14x18 ny Lemon and Lime, ird, 14 x 18 il Blues, 1983 rd, 14 x 18 11 16. Iglesia Atotonilco, 1983 Acrylic on canvas, 22 x 18 ����i I i I■ - .s 1933 0.1 o' board. 14 x 18 13 ����1D0017B43B HUKES COLLEGE LIBRARY I �� https://omeka.wilkes.edu/omeka/files/original/e4453a71e8b2f921529195e24a5c6e5b.pdf 9b76b9e96293c3497937aea31136acec PDF Text Text �������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1984 March 11 Bob Haggart: Paintings Creator An entity primarily responsible for making the resource Bob Haggart Andrew J. Sordoni III Bob Haggart Judith H. O'Toole Date A point or period of time associated with an event in the lifecycle of the resource 1984 March 11 - April 8 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/f11e9f06c82e0437b32b06a8febc3546.pdf 96f4c25345a304dcbb0a19b6babb9e9d PDF Text Text ������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1978 January 7 Benton Spruance Creator An entity primarily responsible for making the resource Brenton Spruance Date A point or period of time associated with an event in the lifecycle of the resource 1978 January 7 - January 31 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived Lehigh University Department of Exhibitions and Collections https://omeka.wilkes.edu/omeka/files/original/1d64c5b9b616a4d27174b194adadd1ce.pdf 81748cfc16c7262bc9c6799c8f46d1d9 PDF Text Text �������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2010 January 18 Brian Wood Creator An entity primarily responsible for making the resource Brian Wood Christian Hawkey Date A point or period of time associated with an event in the lifecycle of the resource 2010 January 18 - March 14 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Brian Wood is an American contemporary artist working with multiple media in New York. His paintings, drawings, photographs, prints, films, and books are exhibited internationally and are held in many private and public collections. Brian Wood works primarily with painting and drawing. Throughout his career, Wood has been immersed in questions about consciousness and ontology, the mystery of intense images arising to awareness, and their complex relationship with and away from time. Type The nature or genre of the resource Exhibition program Subject The topic of the resource painter paint painting abstract abstract art https://omeka.wilkes.edu/omeka/files/original/295ee6089e940d4415ef518edac1b2d9.pdf 33f5096a5034a091e0ee2bb8033a72d9 PDF Text Text ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 December 4 Comic Strip Art Creator An entity primarily responsible for making the resource Carl Anderson Martin Branner AlCapp Milton Coniff Billy DeBeck Frank Frazetta Jim Gary Chester Gould Will Gould Fred Harmon Halto Jimmy Geaorge Harriman Burne Hogarth Fred Johnson Walt Kelly Stan Lynde George McManus Jimmy Murphy Rose O'Neill Alex Raymond Jose Lewis Salinas Elzie Segar Charles Shultz Cliff Sterrett Date A point or period of time associated with an event in the lifecycle of the resource 1976 December 4 - December 26 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/998d8ef552a6c6267efaf8969722744c.pdf e83679cf84dd712a90c4a6bfb9230044 PDF Text Text ���������������������������������������������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2003 March 10 Birds in Art 2003 Creator An entity primarily responsible for making the resource Carl Brenders Al Agnew Edward Aldrich Neil Allen Charles Allmond Wayne Anderson Tony Angell John Banovich Barbara Bathien Al Barnes Larry Barth Robert Bateman Linda Besse Henry Bismuth Allen Blagden Francois Blin Jules Bouchard Stefane Bougie Carel Brest van Kempen KerriBurnett DianeBurns NatalieCaproni TimCherry LewisCisle C.D.Clarke GuyCoheleach IanColeman EwouddeGroot AdeleEarnshaw MarkEberhard SallyElmer DawnEmerson BethErlund MelanieFain AnneFaust JohnFelsing JoeGarcia UlcoGlimmerveen EllenWelchGranter Shirley Greene Grant Hacking Joyce Hall Charley Harper Janet N. Heaton MatthewHillier Cindy House NancyHowe MarthaHudson Colle Johnson LarsJohnson M.C.Kanouse Eugene Kisselmann JoshuaKnuth DavidEdward Kuecherer Mark Larson Katie Lee Karen Leffel-Massengill Stephen Left Sherry Loehr Franna Lusson Harro Maass Walter T. Matia Jan Martian McGuire Larry McQueen Janice Meister Krystii Melaine Terry Miller Dirk Moerbeek James Morgan John Mullane Rock Newcomb Elliot Offner Peter Olson Mary Louise O'Sullivan Dino Paravano Patricia Pepin Jonathan Pointer Greg Postle Tony Pridham JulioPro Thomas Quinn Don Rambadt Gamini Ratnavira Maynard Reece Bill Rice Andrea Rich John Richen Michael James Riddet Sue ellen Ross Kimberly Roush Bart Rulon Linda St.Clair Sherry Salari Sander Randall Scott John T. Sharp Juan Varela Simo Richard Sloan Daniel Smith Dee Smith Matt Snebold Jan McAllaster Stommes Karl Taylor Kent Ullberg BarryW. Van Dusen Pieter Verstappen Bart Walter Paula Waterman Dale A. Weiler Sandra Wiesman Weiler Tim Wider Ronnie Willford Lin-HueYen Pete Zaluzec Date A point or period of time associated with an event in the lifecycle of the resource 2003 March 10 - May 4 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Birds in Art is a comprehensive catalogue of artists depictions of birds of various species and in various forms. From hyperrealistic to abstract and in 2D and 3D mediums, artists share their love of ornithology. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Birds in Art birds bird ornithology watercolor acrylic oil bronze 2D 3D mixed media gouache pencil pastel oil pastel graphite Source A related resource from which the described resource is derived Leigh Yawkey Woodson Art Museum https://omeka.wilkes.edu/omeka/files/original/774f2f5dc352372588892db81e1d8ce3.pdf e093e43e86ac2f0a5d35833bff2816e3 PDF Text Text Carl Sprinchorn: Realist Impulse and RomanticVision SORD GA ND237 S644A3 1984 �Carl Sprmchorn: Realist Impulse and RomanticVision Sordoni Art Gallery, Wilkes College Wilkes-Barre, Pennsylvania November 13 through December 30, 1983 Westmoreland County Museum of Art Greensburg, Pennsylvania January 14 through February 26, 1984 The Jane Voorhees Zimmerli Art Museum Rutgers — The State University of New Jersey New Brunswick, New Jersey April 8 through June 3, 1984 Exhibition organized by the Sordoni Art Gallery, Wilkes College and supported by grants from The John Sloan Memorial Foundation and the Sordoni Foundation, Inc. E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA 1 �Table Of Contents Acknowledgements ... Reminiscences of Carl Sprinchom Carl Sprinchom: Realist Impulse and Romantic Vision Checklist of the Exhibition . 2. Robert Henri (1865-1929) Portrait of Carl Sprinchom, 1910 Oil on canvas Gift of Anna Sprinchom Johnson, 76.43 Herbert F. Johnson Museum of Art Cornell University "Sprinchom has proven by his concentrated persistent devotion to his work, that nothing diverts him from the high purpose and standard he has set for himself. Robert Henri said of him that he considered him a genius and on such occasions as I have exhibited his work, it has met with high praise from critics, artists and connoisseurs. In fact, it is only due to the artist's modesty and concentration on the effort he makes in his work, that he has failed to achieve from a material point of view what is called 'success'.'' Marie Sterner Quoted from a letter to the John Simon Guggenheim Memorial Foundation. 1941 (UMO> 2 4 5 8 . . .17 �Table Of Contents Acknowledgements 4 Reminiscences of Carl Sprinchorn . . 5 Carl Sprinchorn: Realist Impulse and Romantic Vision Checklist of the Exhibition 8 17 : devotion to his work, that rd he has set for himself, uus and on such occasions as from critics, artists and esty and concentration on the eve from a material point of Marie Sterner Quoted from a letter to the John Simon Guggenheim Memorial Foundation 1941 (UMOi 3 �Reminiscences of Carl Spriiuhorn Acknowledgements by Bennard B Perlmw. This exhibition of the works of Carl Sprinchorn (1887-1971) is the first major presentation dedicated to that artist since the memorial exhibition held at the University of Maine (Orono) one year after his death. It is our hope that this will be the first step in bringing recognition to an artist whom Robert Henri called a genius — an artist who withdrew from what he thought to be the hyprocrisy of the art market and devoted himself entirely to his painting. There are many people to whom I am indebted for their assistance with this project. I would like to thank Sandy and Arnold Rifkin for bringing Sprinchom’s work to my attention and for suggesting an exhibition. Special thanks are reserved for Kathryn Freeman annd Frederica Beinert, life-long friends of the artist, who, despite an illness, gave lovely, long afternoons to me in conversations about their i i cherished friend. Robert F. and Patricia Ross We^ v also graciously open with their reminiscences j?J »vi«h their collection. A week was spent at the University of Maine lOrono: jn preparation for the accompanying essay. 1 would like to thank Edward Kellog. Head of the Special Collections De­ partment at the Raymond H. Fogler Library and his staff for giving me access to the Spnnchorn papers: and Mr Ron Ghiz, then Acting Director of the Art Collections, tor arranging for me to see their holdings bv Sprinchorn I am grateful too for the enthusiastic support ot Mrs John Sloan; Andrew J. Sordoni, III: Robert S. ( apin President of Wilkes College: the members of my Advisory Commis sion; and the competence of my assi ' mt. Douglas Evans Judith H. O Toole, Director It was shortly before I vilock or . - ■ July 16th when 1 arrived at C.iri Sprincnom apartment tor the interview My rapid gait gradually slewed as 1 climbed the last flight ot stairs to his ritth floor walkup at 535 Hudson Street located on the western fringe ot Greenwich Village in Lower Manhattan The year was 195o and when (hi door wa-. opened, my initial reaction was that the artist who cordially greeted me appeared mm h younger than his s.xty-nme years. His head was sculpturesque: a prominent nose deep-set eves, high cheek bones and a strong jaw My mission was to gather information tor a book about The Eight which included interviewing artist', such as Sprinchorn who had been a student of Robert Henri According to my notes of that visit the Swedishborn painter initially remarked I was probably the first European to come to America to study' art. adding that he was only sixteen years old at the time. Three day-, after his arrival in the fall of 1903 he was enrolled at the New York School of Art Now, a halt century later, i twenty eight-year-old artist and college teacher sat in awe ot the older man. who was able to instantly and accurately recall dates and incidents from his youth Sprinchorn spoke ot the good-natured hazing and pranks perpetrated on each new enrollee in the Henri class and how another teacher, William Merritt Chase, would always turn to h>s pupil Walter Path when he wav stumped for ar. artist's name or a date important in art history When Henri withdrew from the school after six years because he was owed 5800 in back salary, and established his own classes in the Lincoln Anade in January. 1W, Sprinchorn related how his students demonstrated their loyalty by parading with their canvases down Broadway from the former school to the new location at 66th Street Carl Sprinchorn served fur a time as manager of the Henri School When the interviewer made a chance remark about Mr, Sprinchorn's apartment being just three blocks from the Hudson River, it prompted the artist to recall one of his teacher s critiques in which he took special pride: in Henri's Composition Class, forty or fifty student works would be placed against a wall, he explained One week there were several paintings of the Hudson River from which he took his cue. talking for nearly an hour about the varied sweep of the shoreline, the appropriate placement of boats along the river and the different proportions of water to land and sky. After dwelling at length on a Bellows interpretation. Henn finally fumed and pointed a three-foot maul stick toward a large canvas by me," Sprinchorn remarked Then Her n observed. AU of you have shown boats going up and doe, the) K Spr tkb an , afte t xh Dir Bal tho cou arc eve Nel of . dis, 1 Cai yel wj Ah for �Reminiscences of Carl Sprinchorn by Bonnard B. Perlman cherished friend. Robert F. and Patricia Ross Weis were It was shortly before 1 o’clock on a hot and humid also graciously open with their reminiscences and with July 16th when I arrived at Carl Sprinchorn’s apartment their collection. for the interview. My rapid gait gradually slowed as I A week was spent at the University of Maine (Orono) in climbed the last flight of stairs to his fifth-floor walkup preparation for the accompanying essay. I would like to at 535 Hudson Street, located on the western fringe of thank Edward Kellog, Head of the Special Collections De­ Greenwich Village in Lower Manhattan. partment at the Raymond H. Fogler Library, and his staff The year was 1956 and when the door was opened, for giving me access to the Sprinchorn papers; and Mr. my initial reaction was that the artist who cordially Ron Ghiz, then Acting Director of the Art Collections, for greeted me appeared much younger than his sixty-nine arranging for me to see their holdings by Sprinchorn. years. His head was sculpturesque: a prominent nose, I am grateful too for the enthusiastic support of Mrs. John deep-set eyes, high cheek bones and a strong jaw. Sloan; Andrew J. Sordoni, 111; Robert S. Capin, President My mission was to gather information for a book of Wilkes College; the members of my Advisory Commis­ about "The Eight,"1 which included interviewing artists sion; and the competence of my assistant, Douglas Evans. such as Sprinchorn who had been a student of Robert Judith H. O Toole, Director Henri. According to my notes of that visit, the Sw'edishborn painter initially remarked: "1 was probably the first European to come to America to study art," adding that he was only sixteen years old at the time. Three days after his arrival in the fall ol 1903 he was enrolled at the New York School of Art. Now, a half-century later, a twenty-eight-year-old artist and college teacher sat in awe of the older man, who was able to instantly and accurately recall dates and incidents from his youth. Sprinchorn spoke of the good-natured hazing and pranks perpetrated on each new enrollee in the Henri class and how another teacher, William Merritt Chase, would always turn to his pupil Walter Pach when he was stumped for an artist's name or a date important in art history. When Henri withdrew from the school after six years because he was owed $800 in back salary, and established his own classes in the Lincoln Arcade in January, 1909, Sprinchorn related how his students demonstrated their loyalty by parading with their canvases down Broadway from the former school to the new location at 66th Street. Carl Sprinchorn served for a time as manager of the Henri School. When the interviewer made a chance remark about Mr. Sprinchorn’s apartment being just three blocks from the Hudson River, it prompted the artist to recall one of his teacher's critiques in which he took special pride: "In Henri's Composition Class, forty or fifty student works would be placed against a wall," he explained. "One week there were several paintings of the Hudson River from which he took his cue, talking for nearly an hour about the varied sweep of the shoreline, the appropriate placement of boats along the river and the different proportions of water to land and sky. After dwelling at length on a Bellows interpretation, Henri finally turned and pointed a three-foot maul stick toward a large canvas by me," Sprinchorn remarked. "Then Henri observed: 'All of you have shown boats going up and This exhibition of the works of Carl Sprinchorn (1887-1971) is the first major presentation dedicated to that artist since the memorial exhibition held at the University of Maine (Orono) one year after his death. It is our hope that this will be the first step in bringing recognition to an artist whom Robert Henri called a genius — an artist who withdrew from what he thought to be the hyprocrisy of the art market and devoted himself entirely to his painting. There are many people to whom I am indebted for their assistance with this project. I would like to thank Sandy and Arnold Rifkin for bringing Sprinchorn’s work to my attention and for suggesting an exhibition. Special thanks are reserved for Kathryn Freeman annd Frederica Beinert, life-long friends of the artist, who, despite an illness, gave lovely, long afternoons to me in conversations about their 4 dowi they Ki Sprii (Bah an a alter exhil Dire recoi Balti thou cour are r ever New of ai disci T1 Carl yelk was Afte forrr tl a1 ai N o h L a cl a ti A it S tt it c / 5 ti k t b �Reminiscences of Carl Sprinchorn | bv Bennard B. Perlman Robert F. and Patricia Ross Weis were en with their reminiscences and with t at the University of Maine (Orono) in accompanying essay. I would like to >g. Head of the Special Collections De­ smond H. Fogler Library, and his staff ;s to the Sprinchorn papers; and Mr. ng Director of the Art Collections, for see their holdings by Sprinchorn. or the enthusiastic support of Mrs. John jrdoni. III; Robert S. Capin, President he members of my Advisory' Commistence of my assistant, Douglas Evans. Judith H. O'Toole, Director It was shortly before 1 o'clock on a hot and humid July 16th when I arrived at Carl Sprinchorn's apartment for the interview. My rapid gait gradually slowed as I climbed the last flight of stairs to his fifth-floor walkup at 535 Hudson Street, located on the western fringe of Greenwich Village in Lower Manhattan. The year was 1956 and when the door was opened, my initial reaction was that the artist who cordially greeted me appeared much younger than his sixty-nine years. His head was sculpturesque: a prominent nose, deep-set eyes, high cheek bones and a strong jaw. My mission was to gather information for a book about "The Eight,"’ which included interviewing artists such as Sprinchorn who had been a student of Robert Henri. According to my notes of that visit, the Swedishbom painter initially remarked: "I was probably the first European to come to America to study art," adding that he was only sixteen years old at the time. Three days after his arrival in the fall of 1903 he was enrolled at the New York School of Art. Now, a half-century later, a twenty-eight-year-old artist and college teacher sat in awe of the older man, who was able to instantly and accurately recall dates and incidents from his youth. Sprinchorn spoke of the good-natured hazing and pranks perpetrated on each new enrollee in the Henri class and how another teacher, William Merritt Chase, would always turn to his pupil Walter Pach when he was stumped for an artist's name or a date important in art history. When Henri withdrew from the school after six years because he was owed S800 in back salary, and established his own classes in the Lincoln Arcade in January, 1909, Sprinchorn related how his students demonstrated their loyalty by parading with their canvases down Broadway from the former school to the new location at 66th Street. Carl Sprinchorn served for a time as manager of the Henri School. When the interviewer made a chance remark about Mr. Sprinchorn's apartment being just three blocks from the Hudson River, it prompted the artist to recall one of his teacher's critiques in which he took special pride: In Henri's Composition Class, forty or fifty student works would be placed against a wall," he explained. "One week there were several paintings of the Hudson River from w'hich he took his cue, talking for nearly an hour about the varied sweep of the shoreline, the appropriate placement of boats along the river and the different proportions of water to land and sky. After dwelling at length on a Bellows interpretation, Henri finally turned and pointed a three-foot maul stick toward a large canvas by me," Sprinchorn remarked. "Then Henri observed: 'All of you have shown boats going up and down the river. Only this painting demonstrates that they go across the river as well'." Knowing that I hailed from Baltimore, Carl Sprinchorn produced a three-decade-old copy of The (Baltimore) Sun in which his picture appeared along-side an article. It referred to his having been in Baltimore to attend the opening of a Modern French Painting exhibition at the Museum of Art. In his capacity as Director of New York's New Gallery, Sprinchorn had recommended that a similar facility be established in Baltimore. "At the New Galleries hundreds, if not thousands, of young artists show their work during the course of the year," he had been quoted as saying. "We are not a commercial institution. Rather, we exist to give every opportunity to talent when it reveals itself. The New Gallery has proved the means of 'finding' a number of artists whose work otherwise never might have been discovered."2 The article, though interesting, was a digression. Then Carl Sprinchorn produced another publication, a yellowing copy of Putnam's Monthly Magazine which was more to the point. It explained how his oil entitled After a Snowstorm was in part responsible for the formation of "the Eight": ... It was this painting, among others, the rejection of which by his fellow jurymen caused Robert Henri, the distinguished figure-painter, to withdraw his own accepted paintings from the exhibition of 1906-07, and to criticize the conventional standards of the National Academy so unsparingly. On that occasion, in the course of a published interview, he [Henri] said: Life's philosophy can be expressed as strongly in art as through any other medium, and the painter who does this faltering at first, perhaps, and yet with the assurance of definite aim and purpose and future triumph, is the man to uphold, to encourage, and a National Academy in fact as in name would inevitably so uphold and so encourage. Carl Sprinchorn — to select an incident that comes to mind — goes down into a grimy, squalid side street in the slums of New York, and with a blizzard raging, catches a big new note and places it upon canvas with haunting effect. But placed before the Academy jury, does it receive the slightest recognition? Quite the contrary; it is rejected. Sprinchorn is young and has never been honored by the admission of a painting in the Academy, yet I know of few more promising painters. His story is the story of every man of whatever calling who has brought with him something new. . . I 5 �i played in the history of American Art, bu: as an artist my fascination was with the masterful handling of paint the spontaneous, slashing brushstrokes, the verve and 1 i Sprinchorn canvas to have sung its praises the year before, in 1906, when he showed it to a newspaper reporter during an interview in his classroom: Here is the work of a boy named Sprinchorn . . • New York whitewings cleaning east side streets after a snowstorm - not an idealized study but just as we have seen them . . . Truthful, isn't it? Well, a couple of years ago that boy came to me with a study in still-life to show as a specimen of his work — rruit, I think it was, or a glove and a water pitcher you know the kind. It was one of the worst I ever saw, and I told him so. He stopped studying bananas and water pitchers and went out to look at life plain New York life, as he could find it anywhere. Now he paints that kind, and his work has more virility and character to it than years of academic puttering over mush could give it.4 The flap referred to in Putnam's Magazine over the Carl Sprinchorn painting, and one by George Luks called Woman with Macaws, actually came after the jurying for the 1907 National Academy of Design Annual but before the exhibition opened. Both works had been placed in a number three category, signifying that they would be hung if space permitted. As was the custom, the Academy jury, of which Henri was a member, was called upon to inspect and approve the selection and placement of the paintings by a threemember Hanging Committee. But when Henri noticed that both the Sprinchorn and Luks canvases had been eliminated from the show, he pointed out an area in one of the galleries where they could be hung. A member of the Hanging Committee questioned his intent. Did he mean to "improve the wall" or simply see to it that the work of certain men was hung? Henri's reply was direct and to the point: "I don't care for the wall, I only care for the men."5 Despite the forthright response, or perhaps because of it, the two compositions were hunted up and hung in the show. Henri's triumph was short-lived, however, for the following day they were eliminated once more, the excuse being that "the two paintings in question spoiled the mural effect of the other pictures hung nearby."5 This was due, of course, to the unconventional nature of the subject matter and painting styles, neither of which conformed to the academic norm of the day. And then Carl Sprinchorn told me that he still owned the canvas I I was ushered into the adjoining room where he pulled the 30-by-40-inch composition from a large collection of his work. As a historian I was naturally impressed by the pivotal role this cityscape had dash. Sprinchorn explained how he had produced it from a third-floor window of a building on the northeast corner of 56th Street, looking south on Eleventh Avenue. The painting was predominantly gray, possessing just the slightest evidence of yellow ochre and Venetian red in two tenements in the right middleground. Factories and four tall smokestacks served as a backdrop for huge snow drifts which dominated the entire lower half of the composition. "I started it early one morning on that kind of a day and finished it before dark and have never touched it since," the artist would reveal in a letter some years later.7 But now he shared another secret: The subject of his cityscape was a block from the Hudson River, on the west side of New York; however, Henri's repeated reference to it in 1906 and '07 as the East Side caused him to retitle it A Winter Scene on the East Side, New York, 1907s (cat. no. 1). Although we talked for another hour, the high point of that July day in 1956 had been the privilege of meeting Carl Sprinchorn and viewing A Winter Scene. Later that afternoon I visited a well-known New York collector and shared my enthusiasm for the painting, but he was not sufficiently interested to contact the artist. The following month I told a museum director of the find but her acquisitions of American Art were more contemporary in nature. Determined to locate a buyer for the masterwork, I mentioned its availability to Bob Graham, of James Graham & Sons on Madison Avenue, and that conversation bore fruit. In January, Carl Sprinchorn wrote that Mr. Graham had paid him a visit and "is the agent for the painting — it now being in his gallery (with several later works of mine)."’ And in February, 1957 the Sprinchorn canvas was included in an exhibition at Graham's called Aspects of American Painting, 1910-1954, which also featured paintings by Stuart Davis, John Marin, Alfred Maurer, Walter racn. Morgan Russell and Stanton MacDonald-Wright.' Still determined that Carl Sprinchorn's major composition should find a home, I finally succeede in whetting the appetite of a Baltimore couple, c0 ec ° j and friends, who have cherished it all of these years who graciously agreed to lend it to this show. During the late 1950s. Carl Sprinchorn and I corresponded regularly. The routine was that send him questions relative to my research c°n<ie_ The Eight" and he. in return, wrote wonderfu y detailed and lengthy missives. On one occasion 6 list of all of the Henri students whose names a volume of the American Art Annual, and S noted beside the names of those he knew thei and whether they had studied at the New Yo: of Art or the Henri School. When one of my proved too much even for him. he forwarded fellow art school classmates, Edward and Josi Hopper, so that they could fill in the blanks. Sprinchorn's enthusiams and assistance appea unending. Yet on August 2, 1964 I received my last It Carl Sprinchorn. "I've had a stroke," he info: "which accounts for this very poor writing." concluded that four-page missive with these i "Thank you for including me in such a flatte your book. Much has happened since those c more is bound to happen, but of that, some But for me, Sprinchorn's "some other time" r �T i ed in the history of American Art, but as an artist artist fascination was with the masterful handlmg of paint spontaneous, —slashing dashine brushstrokes, rus s ro es the«■ verve and list of all of the Henri students whose names appeared in I a vo]ume of the American Art Annual, and Sprinchorn noted beside the names of those he knew their addresses 1. The Immortal Eight: American Painting from Eakins to the Armory Show (1962; revised edition, 1979). 2. "Gallery for 'Modern' Artists in Baltimore Urged by Painter," The (Baltimore) Sun, January, 10, 1925. _ 3. "The Lounger" Column, Putnam's Monthly & The Reader, V (December, 1908), p. 376. 4. Izola Forrester, "New York's Art Anarchists: Here Is the Revolutionary Creed of Robert Henri and His Followers," New York World, June 10, 1906, 5. "That Tragic Wall," New York Sun, March 16, 1907. 6. 'The Henri Hurrah," American Art News, V (March 23,1907), p. 4. 7. Letter from Carl Sprinchorn to Mr. and Mrs. Sigmund M. Hyman, September 29, 1964. 8. Carl Sprinchorn apparently erred when he included the date "1907" in the title. Since the painting was referred to by Henri in the June, 1906 interview, it would have been created in that year. 9. Letter from Carl Sprinchorn to the author, January 20, 1957. 10. In the catalogue for this exhibition, the Sprinchorn painting was incorrectly titled New York City — Snow Scene, 1910. and whether they had studied at the New York School rinchom explained how he had produced it from a i of Art or the Henri School. When one of my queries -floor window of a building on the northeast corner proved too much even for him, he forwarded it to his >th Street, looking south on Eleventh Avenue. The fellow art school classmates, Edward and Josephine :ing was predominantly gray, possessing just the Hopper, so that they could fill in the blanks. test evidence of yellow ochre and Venetian red in Sprinchorn's enthusiams and assistance appeared tenements in the right middleground. Factories and I unending. tall smokestacks served as a backdrop for huge Yet on August 2, 1964 I received my last letter from ' drifts which dominated the entire lower half of th< le Carl Sprinchorn. '‘I've had a stroke," he informed me, >osition. "I started it early one morning on that ’ kind ■ "which accounts for this very poor writing." He day and finished it before dark and have never concluded that four-page missive with these words: ted it since," the artist tvould reveal in a letter some < "Thank you for including me in such a flattering way in later.7 your book. Much has happened since those days — and t now he shared another secret: The subject of his more is bound to happen, but of that, some other time." ape was a block from the Hudson River, on the But for me, Sprinchorn's "some other time" never came. side of New York; however, Henri's repeated nee to it in 1906 and '07 as the East Side caused o retitle it A Winter Scene on the East Side, New 1907s (cat. no. 1). hough we talked for another hour, the high point it July day in 1956 had been the privilege of ng Carl Sprinchorn and viewing A Winter Scene. er that afternoon I visited a well-known New’ York tor and shared my enthusiasm for the painting, but s not sufficiently interested to contact the artist, allowing month I told a museum director of the ut her acquisitions of American Art were more nporary in nature. Determined to locate a buyer e masterwork, I mentioned its availability to Bob im, of James Graham & Sons on Madison Avenue, lat conversation bore fruit. In January, Carl :horn wrote that Mr. Graham had paid him a visit s the agent for the painting — it now’ being in his r (with several later works of mine)."’ And in try, 1957 the Sprinchorn canvas was included in libition at Graham's called Aspects of American ig, 1910-1954, which also featured paintings by Davis, John Marin, Alfred Maurer, Walter Pach, in Russell and Stanton MacDonald-Wright.10 determined that Carl Sprinchorn's major isition should find a home, I finally succeede m ng the appetite of a Baltimore couple, collectors iends, who have cherished it all of these years a raciously agreed to lend it to this show'. ing the late 1950s, Carl Sprinchorn and I bonded regularly. The routine was that I w’ou im questions relative to my research concern light and he, in return, wrote wonderfu y j a d and lengthy missives. On one occasion Bennard B. Perlman is a Baltimore artist, writer and lecturer who is Professor and Chairman of the Department of Fine and Applied Arts at the Communitty College of Baltimore. His biography, Robert Henri: His Life and Art, will appear in the spring. 7 �, I I - ’ Carl Sprinchorn: Realist Impulse and Romantic i ision by Judith H. O'Toole Sprincom's first meeting with Robert Henri came several days after he entered the latter's life class. The student described his teacher as "a dark and sinister looking man, raven, straight hair falling . . . over the eyes and . . . looking up under the fringe 'tho too tall t have needed to look under at anybody. . . ,"s Despite ° this initial impression of a stern, aloof critic in Henri the student responded almost immediately to the charismatic guidance of his eloquent instructor. Perh; laps Sprinchorn's initial exclusion from the distracting classroom antics of his fellow students further convinced the already committed youth to concentrate fully on his work. His dedication and hard work seems to have paid off as he learned his lessons quickly and well, soon developing a strong, personal style. Henri was a teacher who had the rare and tremendous power to instill in others his love of art. He had attracted a large student following who created a demand for his time in critiques and filled every seat in his lecture room.6 Henri's special interest in Sprinchorn must be taken as an indication that the young Swede was an artist of promising ability. In 1907, Henri's confidence in Sprinchorn had an opportunity to become known. For several years, Sprinchorn had been producing large canvases of city­ scenes executed with a strength and bravura that caused them to be much talked about at the school. He had submitted these paintings to past exhibitions at the National Academy but none had ever been accepted. This process was repeated in 1906 with far-reaching consequences. Sprinchorn still vividly recalled the incident thirty-three years later when he wrote: "This was the time when my 11th Avenue in a snow storm (cat. no. 1) was sent to the Academy, refused, and as per certain records in clippings, a Putnam magazine article and reproduction, caused the big rumpus and brought column-long newspaper stories, interviewers to my door, and Henri and others to withdraw their own accepted works in protest. . . ,"7 Throughout this affair, Henri stood by, guiding the inexperienced youth throug interviews with the press and other pressures brought on by such a sudden wave of notoriety. An instance particularly revealing of Henri's character came when e asked each reporter in person not to mention in their articles the fact that Sprinchorn was working as a servant/waiter in a boarding house, but to focus entire on his status as a young, professional painter.8 Henri presented his own view of the incident in a published interview reprinted in 1908 (the year of Eight's first group exhibition at the MacBeth Gallery Putnam magazine. In it he compared Sprinchorn to of great masters who had been scorned at the beginnin their careers but later were lauded. Carl Sprinchorn once wrote that he believed himself tto be the first European who came to study art in the United States.’ He arrived in New York City m 1903, a time when American artists were still flocking to the art centers of the continent for instruction and. indeed, it was considered that an artist’s career was not properly launched without a stint abroad. The innovations and achievements of the European, and particularly the French, artists of the late nineteenth century were still fresh and waiting to be absorbed. The early twentieth century, however, would prove to be a prodigious moment for a young artist to arrive in New York. This was a time when a thoroughly American, modem art movement was being conceived. Sprinchorn was bom in the rural town of Broby, Sweden, in 1887. At the age of sixteen, he left his mother's family, to wrhom he would remain close, and joined his sister in the United States. He arrived in New York on October 31, 1903. Three days later, with no grasp of the English language and still unfamiliar with the city, Sprinchorn enrolled in Robert Henn's morning life drawing class at William Merritt Chase s New York School of Art on West 57th Street. He was accompanied that morning by his sister who, much to Sprinchorn's chagrin, had insisted on wearing her Salvation Army uniform in the hope of being granted a lower tuition. This ploy being unsuccessful, the young Swede paid the monthly fee of five dollars and "purchased such things as were essential to the work, a large black portfolio ■with some sheets of French charcoal paper, charcoal sticks, a kneaded eraser, two clothespins to hold the paper to the portfolio, and ... a plumb line."2 That same morning the class monitor was rung for and Sprinchorn was led "into the mysterious realms of an art life class, a vast, skylighted place filled with pupils at easels and at up-turned chairs with portfolios, drawing and painting in a pandemonium of activity' and everywhere daubs of paint, caricatures covering the walls and canvases propped all around."3 Sprinchorn’s first year at the school was to be a difficult one. He spoke no English, and his fellow students, after a few exasperating attempts to communicate through a young man from Minneapolis whose only phrases in Swedish were "this is good, this is not so good,'4 left the newcomer to himself. Several years later. Guy Pene du Bois introduced Sprinchorn at a student reunion as the only man who never "set 'em up, referring to the beer and sandwich party thrown by every student to curtail the pranks and hazing by the oftfm dentS' Spnnchorn never knew ^is was expected "Wagner, expressing great life-thoughts through music, was pronounced a mere maker of noise; Walt Whitman, whose book of poems Whittier cast into the fire, sent a similar chill down the spine of conventional culture; Degas, Manet and Whistler and their academy of the rejected; Puvis de Chavannes — oh, ever so many, despised and laughed at first but later recognized as dreamers of fresh dreams, makers of new songs, creators of new art."’ These events certainly boosted not only Sprinchorn's career but also his confidence. In 1907, he became the manager of the Robert Henri School of Art, an arrangement which permitted him to continue to work closely with his mentor while also affording him freedom from his former student status. He also continued his chores at the boarding house but was now given free meals, thus immensely improving his physical condition. He grew husky and more handsome with this new-found physical and mental well-being. A photograph of a group from the Henri School at around this time shows him blond and muscular in shirt sleeves while the others are dressed in formal coat and tie. Henri's striking portrait of his student (cat. no. 2), done in 1910, shows a broad-shouldered young man with a look of fierce determination on his handsome features. Henri taught Sprinchorn to look at the life of the city around him and to draw his art from it. Sprinchorn had a steady temperament and believed in hard work, so he applied himself vigorously to his art. His paintings from this early period express a painterly determination with heavily-laden brush strokes applied to the canvas quickly and with confidence. His palette is muted and harmonious while his compositions, belying the spontaneous look of the finished work, are formally structured. Unfortunately, due to his reclusive nature and, later, his almost complete withdrawal from the business end of the art world, few of these early canvases have been located and many may only exist in yellowed, black and white reproductions. Happily, A Winter Scene on the East Side, New York (cat. no. 1), the painting which caused the uproar in 1907 and is therefore best suited to represent this period, is still extant and was available for this exhibition. Sprinchorn left the Henri School and New York in 1910 to travel for about five years. During this time, he made the obligatory trip to Paris, once in 1910-11 and once in 1914. During the latter visit, he attended drawing classes at the Ecole Colarossi, but did not study with any one master. Lilac Time, Versailles (cat. no. 3) shows the still painterly technique and subdued palette. The small format and brushy execution indicates a sketch made in-situ. From 1912-1914, Sprinchorn was an instructor at the Art League of Los Angeles. Although not much is known about his stay in California, he must have maintained strong ties with New York because in 1913 he was represented by four pieces in the well-known International Armory Show of that year. Other exhibitions in which he participated during these years include the Exhibit of Independent Artists, arranged by' Arthur B. Davis (who also coordinated the American entries in the Armory Show of 1913); the Pennsylvania Academy' annuals; and the Panama Exposition in San Francisco and San Diego. Sprinchorn returned to California in 1944 when he painted there with Marsden Hartley and Rex Slinkard. It was during this later visit that he produced Tangerines on Bough — California (cat. no. 30) and White Dahlias (cat. no. 31). Sprinchorn's first one-man show was not until 1916 when George Hellman mounted an exhibition of drawings at 366 Fifth Avenue. These included mainly figure studies, distinctly' Parisian in character — young, elegantly dressed women in cafe settings and at the opera. These light, witty, ink drawings differ vastly from the "ash can" realism of his earlier, Henri-inspired city-scapes, yet they have the same ability to get to the heart of the side of life they depict. They also reflect the sureness of execution of the earlier work. Hellman wrote that "the quality of line shown by Mr. Sprinchorn in his drawings is an achievement rarely met with . . . there is manifest that swift interpretive genius (so difficult of definition) in which resides the wonder of original drawings.''10 For a later exhibition which included both watercolors and drawings, Sprinchorn's close friend and fellow artist, Marsden Hartley, wrote: "In these drawings of Sprinchorn, you find always genuine elegance of feeling — true perception of appearances, perfect knowledge of gesture. He invests his male figures with thoroughly masculine life — and his female figures are radiant with feminine vanity. Sprinchorn's insatiable thirst for the kaleidoscopic vividness of life provides his vivid and voluminous results. He is among the masters, I believe, as to his understanding of appearances of life, which for the real artist is life itself."” A delightful example relating to this era is Sprinchorn’s Three Figures (cat. no. 5) in which the haute couture of the ladies' demeanor is captured by a fluid background wash accented by scant details to the interior of the figures. The crisp profile of the equally elegantly dressed gentleman bears more than a chance resemblance to Q 8 �1IUWCVC1, Uldc opi 1X1C1LU111 navi uu/wu New York art world. In one such letter, she reported that Duchamp had returned to New York "no longer so good looking but as sweet and agreeable as ever," and that "Stieglitz was very ill but recovered enough to be talking eight hours a day at his gallery."’2 Sprinchorn reproduced a miniature of his painting Nijinsky and Pavlova (the large original is now in the collection of the ----- many of the European modernists, as his alignment wit the Henri School might indicate. In later years he composed humorous jingles about some of the leading painters of that time. He had tremendous respect for Van Gogh, but found the artist's popularity among new cultural elite to be hypocritical. He wrote: '9. Woodsman Greets the Rising Sun, 1920 Oil on canvas Collection of Miss Kathryn Freeman �I suffer agonies when viewing Van Gogh... van gogk in his role of Hollywood Cultural Prop - . .■ Cultural Prop; "Potato Eaters on Miracle Mile., Woman of Arles at Sunset and Vine?! What a crop - - ■ what a crop! He disliked 'Miro (a cheap, modernist interior decorator14'1. Paul Klee, and Piet Modrian. He felt Picasso to be the greatest of ail modem painters, although he considered Braque a painter of bric-a-brac. Chaim Soutine was a favorite artist whose work he had encountered in Paris, and Henri Matisse was a painter who revives me and sets me at peace, but he could not tolerate Paul Gauguin. Between the years 1910 and 1931, Sprinchorn made . several lencthy trips away from New fork, seemingly m search of an environment which would provide for him the inspiration that the city provided for Henri and ethers. In 1925 he began a two-year stay in Santo Dommgo ■.■••here he painted such exotic canvases as Still 2;-.- mt.*': --’c.:.* c’t.t Parrot 'cat. no. 15 . Sprinchorn was sensitive about the brilliant use of color in this and other -..-;rks from his tropical period. When the canvas was civer :? me High Museum in 1955, through the estate of M.ss Ettie Stettheimer 'who had purchased it at the Rehn Gaber. 2-27 Sprinchorn made a point of estzrusring austerity as the undedying quality of the wcr.-. While other works from this period, including Ou-CLandscape (cat. no. 14), retain the farmed palette cf his earlier work, the subject matter arc rr epical brilliance of Still Life with Fruit and Parrot ::. -c Srrir.tr.tm s instinctive feeling for color to oeccme a ma:cr compositional element. In later work, be released from both the confines of form Mari den Hartley once referred to Sprinchorn as one of ■/. tw. r rrrar.tldsts in Henri s coterie of realists.16 ; search. for a visual stimulus which would ‘-'r’rr re.ease of his romantic impulses in Hem's realist directive finally found sc.ut;cr. ■.-.rec r.e discovered Maine. Here, as one critic is to confront subjects more in m inner nature, his Scandinavian arc mere; r/.rthern heritage, and his wholesome beuet in the uncomplicated goodness of a simple life J . ” ■' ■■ ■■■'of Maine briefly in ' -7 : • - ■ : ■■■<--) by a friend of his s 10 m inland village of Monson where a 7 ■■■ ' - of Maine ,hanand the 1922 c°as‘that -sti!|he- h was not until the years between 1917 returned for several months at a tune, working in the lumber camps and sawmills to get a feel for the lumberman’s rugged way of life — and painting. Sprinchorn's love of Maine was shared by his friend f almost thirty years, Marsden Hartley. The two met ln * 1016 on the occasion of Sprinchorn's first one-man show at the George Hellman Gallery. They were introduced by Hartley's friend and sponsor, Alfred Stieglitz, and as Sprinchorn later recalled, "with our respective art circles of the time being, at least supposedly, rather 'distant in spirit — his the '291' group and mine the Henri crowd and each eyeing the other askance — we might never have met again . . ."1S However, they did meet again during the summer of the same year in Provincetown where informal gatherings at the residences of various artists stimulated a freer exchange of ideas. Hartley's and Sprinchorn's friendship evolved not on the typical basis of frequent personal visits and long conversations, but rather through a monumental exchange of letters. Both men were publicly reserved about their own work, and as Sprinchorn noted, their friendship was based upon circumspection and a tacitly enjoined observance of each other's individual independence and privacy.19 They had very few mutual friends, and aside from three or four separate occasions, they were never together in the field. Neither did they discuss one another's work to any great extent. Instead, both ardently fond of writing, they maintained a faithful correspondence, describing with the candor of an individual addressing his diary their feelings on everything from the most banal day-to-day issues to their deepest feeling about art. Both men had profound ideas about their avocation, but both had grown weary of the art world and people who "talk art." Both enjoyed expressing their views in writing and were eloquently able to do so. Each had chosen to go off by himself to work uninterruptedly in near isolation, yet both were intellectually in need of a creative exchange or ideas. When Sprinchorn went through the file of letters from Hartley which he had saved after the latter s deat , he counted over two hundred, a number which he estimated to represent only five percent of those he ha received.20 Their shared love of Maine served as a great bon between the two men. Hartley's interest in the coast an Sprinchorn's interest in the interior caused them to jokingly claim "hands off" to each other's territories a to dub each other "King of the Coast" and "King o Woods," respectively. Hartley was born in Maine an had a deep-felt love of the ruggedness of the landsca^ and the corresponding rugged way of life. He admit Sprinchorn's physical endurance in the lumber and praised his desire to become a part of the li 1 wanted to paint. Hartley called his friend the Remington of Maine, and wrote that "when I look at these pictures, I see my native land pictured with such speaking accuracy that ... I glory in their vividness and veracity."21 Sprinchorn's first exhibition of the Maine paintings was held at the Marie Sterner Gallery in 1922. In the essay which accompanied the exhibition, Dr. Christian Brinton called Sprinchorn a "modern mystic."22 Sprinchorn later responded to this by saying: I have been called a "mystic." I think I have a pantheistic spirit towards nature that prevents mere copying of nature. I have never been successful in copying nature, however sincerely. I soon get tired. Rather, I like to select and interpret nature, after living close to the sources of nature. At the same time, I have my feet on the ground.23 Two paintings from the "Borealis" series, Snow Winged Horses (cat. no. 11) and Landscape with Horses, (The Fear Forest) (cat. no. 13), were exhibited in 1922 and are included here. Certainly these canvases were meant to express the spirit of the north woods. Cool blue, white, and grey shapes indicate snow-laden trees, while the main figures are statuesque, fantasy-like horses infinitely at home in the frozen splendor of the forest. These creatures were no doubt inspired by the powerful animals used for pulling the huge sleds of logs out of the woods to the lumber camps. The interjection of a human figure in Snow Winged Horses suggests man's struggle to overcome the superiority of nature or to at least live in harmony with it. Spiritual and sensual at once, these compositions are fully expressive of the real world which inspired them, yet they are removed from mere physical description. The hush of the forest primeval is here disturbed by the presence of man's attempt to harness its primitive power. The New York critics greeted Sprinchorn's show at Marie Sterner's gallery with ardent enthusiasm, praising this new exponent of the "modern school."24 Henry McBride summed up Sprinchorn's appeal by saying, "(he) is plastic and abstract; not so abstract to prevent you from knowing all that is going on . . . (but) it is not necessary to know all, only the essential.''25 However, when a similar exhibition was mounted at the Worchester (Massachusetts) Museum that same year, it was met with mixed reviews. An anonymous critic, who signed his review simply "Interested," wrote that "we are convinced that Mr. Sprinchorn is playing a practical joke on us common mortals. . . ." He went on to exclaim, "How any artist can, in these times of high cost of paint, waste several tubes of good bright color on such a picture as 'Woodsman Greets the Rising Sun,' seems inconceivable."26 Yet he later admits that the painting does stir the imagination. Woodsman Greets the Rising Sun, 1920 (cat. no. 9), with its abstract background a prism of brilliant, warm color, does indeed evoke the emotion felt when striding toward a clear, crisp Northern sunrise. The anatomy of the woodsman has been broken down into simplified geometric shapes, similar to those of the background, again illustrating Sprinchorn's ability to describe the essence of a situation without being bound to the specifics. The same critic found Sprinchorn's The Blue Ice Forest, 1920-21 (cat. no. 10) to be "charming and graceful," rather odd adjectives to describe a painting of such cold, uncanny power. Here the menacing forms of the forest seem to overwhelm, thwarting the figure of a hunter who plods his way through the trees on snowshoes. Perhaps this was the painting the artist was working on when he wrote the following to Ettie Stettheimer: "I wish you could have seen ... it rained icy stuff all night, everything was like glass in the morning — the trees loaded to the breaking point, and they did break — all day it sounded as if tigers and elephants were crashing through the woods, snapping crackling as if guns . . . and the weirdly beautiful removed look of it all —! A little glass world shut in by a gray smoke coloured mist ... the bewitched effect . . . truly marvelous —"27 He found friends in a small community called Shin Pond (two houses and some summer camps with a post office a mile and a half down the road) who let him have a room and a studio for the price of one room, although the studio had to be given up when a "paying" customer arrived. Comer of the Studio — Shin Pond, Maine, 1946 (cat. no. 34) shows the cramped quarters littered with everything from apples to snowshoes. His precarious finances required frequent trips to New York to "attend to business." These trips became increasingly frustrating as Sprinchorn became more jealous of time spent away from his beloved forests. More and more he began to learn to make-do, depending on the support of a small but dedicated group of supporters. Sprinchorn was deeply affected by the death, in 1929, of his teacher, Robert Henri. At the same time, his mother became ill and Sprinchorn went to attend to her in Sweden. During this visit, he produced sensitive watercolors which portrayed, in an almost conventional manner, the soft pastel landscapes of his native country (cat. nos. *17 and *16). When he returned to New York in 1931. he faced the Depression. After several money­ making proposals fell through (including a brief stint as 13 ■ i i ■ �I I suffer agonies when viewing 1 an Gogh... van gogk in his role of Hollywood Cultural Prop . . .• Cultural Prop: Potato Eaters on Miracle Mile? "Woman of .Arles' at Sunset and Vine?! What a crop . - ■ what a crop!He disliked Miro ta cheap, modernist interior decorator14' Paul Klee, and Piet Modrian. He felt Picasso to be the greatest of all modem painters, althoueh he considered Braque a painter of ' bric-a-brac. Chaim Soutine was a favorite artist whose work he had encountered in Fans, and Henri Matisse was a rai-ter who revives me and sets me at peace but he could not tolerate Paul Gauguin. Between the years 1910 and 1931. Sprinchorn made several lengthy trips away from New Y ork. seemingly in search of an environment which would provide for him the inspiration that the city provided for Henri and others.'In 1925. he began a two-year stay in Santo Domingo where he nainted such exotic canvases as Still Li*e Fruit mtd Parrot (cat. no. 15). Sprinchorn was sensitive about the brilliant use or color in this and other works from his tropical period. When the canvas was given to the High Museum in 1955, through the estate of Miss Ettie Eteitheimer who had purchased it at the Rehn Gallery in 19Z7 Sprinchorn made a point of establishing austerity as the underlying quality of the work.- While ether works from this period, including Santo Domingo Landscape (cat. no. 141, retain the subdued palette of his earlier work, the subject matter and tropical brilliance of Still Life with Fruit and Parrot allowed Sprinchorn s instinctive feeling for color to become a major compositional element. In later work, color would be released from both the confines of form and the dictations of nature. Marsden Hartley once referred to Sprinchorn as one of only two romanticists in Henri's coterie of realists.Sprmchom s search for a visual stimulus which would allow for the release of his romantic impulses in harmony with Henr: s realist directive finally found resolution when he discovered Maine. Here, as one critic has noted, the artist was to confront subjects more in consonance with his own inner nature, his Scandinavian and therefore northern heritage, and his wholesome belief in the uncomplicated goodness of a simple life close to nature.17 Sprinchorn first visited the coast of Maine briefly in 1907 Four years later, he was invited by a friend of his mothers to stay in the inland village of Monson where a contingent of Swedes had settled The forests of Maine seemed to impress him more than the coast. Still it was not until the years between 1917 and 1922 that he returned for several months at a time, working in the lumber camps and sawmills to get a feel for the lumberman's rugged way of life — and painting. Sprinchorn's love of Maine was shared by his friend of almost thirty years, Marsden Hartley. The two met m 1916 on the occasion of Sprinchorn's first one-man show at the George Hellman Gallery. They were introduced by Hartley's friend and sponsor, Alfred Stieglitz, and as Sprinchorn later recalled, "with our respective art circles of the time being, at least supposedly, rather 'distant' in spirit — his the '291' group and mine the Henri crowd and each eyeing the other askance — we might never have met again . . ,"18 However, they did meet again during the summer of the same year in Provincetown where informal gatherings at the residences of various artists stimulated a freer exchange of ideas. Hartley's and Sprinchorn's friendship evolved not on the typical basis of frequent personal visits and long conversations, but rather through a monumental exchange of letters. Both men were publicly reserved about their own work, and as Sprinchorn noted, their friendship was based upon circumspection and a tacitly enjoined observance of each other's individual independence and privacy.19 They had very few mutual friends, and aside from three or four separate occasions, they were never together in the field. Neither did they discuss one another's work to any great extent. Instead, both ardently fond of writing, they maintained a faithful correspondence, describing with the candor of an individual addressing his diary their feelings on everything from the most banal day-to-day issues to their deepest feeling about art. Both men had profound ideas about their avocation, but both had grown weary of the art world and people who "talk art." Both enjoyed expressing their views in writing and were eloquently able to do so. Each had chosen to go off by himself to work uninterruptedly in near isolation, yet both were intellectually in need of a creative exchange of ideas. When Sprinchorn went through the file of letters from Hartley which he had saved after the latter s death, he counted over two hundred, a number which he estimated to represent only five percent of those he ha received.20 Their shared love of Maine served as a great bond between the two men. Hartley's interest in the coast an Sprinchorn's interest in the interior caused them to jokingly claim "hands off" to each other's territories an to dub each other "King of the Coast" and "King of the Woods," respectively. Hartley was born in Maine an had a deep-felt love of the ruggedness of the landscape and the corresponding rugged way of life. He admire Sprinchorn's physical endurance in the lumber campand praised his desire to become a part of the life e wanted to paint. Hartley called his friend the Remington of Maine, and wrote that "when I look at these pictures, I see my native land pictured with such speaking accuracy that ... I glory in their vividness and veracity."21 Sprinchorn's first exhibition of the Maine paintings was held at the Marie Sterner Gallery in 1922. In the essay which accompanied the exhibition, Dr. Christian Brinton called Sprinchorn a "modern mystic."22 Sprinchorn later responded to this by saying: I have been called a "mystic." I think I have a pantheistic spirit towards nature that prevents mere copying of nature. I have never been successful in copying nature, however sincerely. I soon get tired. Rather, I like to select and interpret nature, after living close to the sources of nature. At the same time, I have my feet on the ground.23 Two paintings from the "Borealis" series. Snow Winged Horses (cat. no. 11) and Landscape with Horses, (The Fear Forest) (cat. no. 13), were exhibited in 1922 and are included here. Certainly these canvases were meant to express the spirit of the north woods. Cool blue, white, and grey shapes indicate snow-laden trees, while the main figures are statuesque, fantasy-like horses infinitely at home in the frozen splendor of the forest. These creatures were no doubt inspired by the powerful animals used for pulling the huge sleds of logs out of the woods to the lumber camps. The interjection of a human figure in Snow Winged Horses suggests man's struggle to overcome the superiority of nature or to at least live in harmony with it. Spiritual and sensual at once, these compositions are fully expressive of the real world which inspired them, yet they are removed from mere physical description. The hush of the forest primeval is here disturbed by the presence of man's attempt to harness its primitive power. The New York critics greeted Sprinchorn's show at Marie Sterner's gallery with ardent enthusiasm, praising this new exponent of the "modern school."24 Henry McBride summed up Sprinchorn's appeal by saying, "(he) is plastic and abstract; not so abstract to prevent you from knowing all that is going on . . . (but) it is not necessary to know all, only the essential."25 However, when a similar exhibition was mounted at the Worchester (Massachusetts) Museum that same year, it was met with mixed reviews. An anonymous critic, who signed his review simply "Interested," wrote that "we are convinced that Mr. Sprinchorn is playing a practical joke on us common mortals. . . He went on to exclaim, "How any artist can, in these times of high cost of paint, waste several tubes of good bright color on such a picture as 'Woodsman Greets the Rising Sun,' seems inconceivable."26 Yet he later admits that the painting does stir the imagination. Woodsman Greets the Rising Sun, 1920 (cat. no. 9), with its abstract background a prism of brilliant, warm color, does indeed evoke the emotion felt when striding toward a clear, crisp Northern sunrise. The anatomy of the woodsman has been broken down into simplified geometric shapes, similar to those of the background, again illustrating Sprinchorn's ability to describe the essence of a situation without being bound to the specifics. The same critic found Sprinchorn's The Blue Ice Forest, 1920-21 (cat. no. 10) to be "charming and graceful," rather odd adjectives to describe a painting of such cold, uncanny power. Here the menacing forms of the forest seem to overwhelm, thwarting the figure of a hunter who plods his way through the trees on snowshoes. Perhaps this was the painting the artist was working on when he wrote the following to Ettie Stettheimer: "I wish you could have seen ... it rained icy stuff all night, everything was like glass in the morning — the trees loaded to the breaking point, and they did break — all day it sounded as if tigers and elephants were crashing through the woods, snapping crackling as if guns . . . and the weirdly beautiful removed look of it all — I A little glass world shut in by a gray smoke coloured mist . . . the bewitched effect . . . truly marvelous —"27 He found friends in a small community called Shin Pond (two houses and some summer camps with a post office a mile and a half down the road) who let him have a room and a studio for the price of one room, although the studio had to be given up when a "paying" customer arrived. Comer of the Studio — Shin Pond. Maine, 1946 (cat. no. 34) shows the cramped quarters littered with everything from apples to snowshoes. His precarious finances required frequent trips to New York to "attend to business." These trips became increasingly frustrating as Sprinchorn became more jealous of time spent away from his beloved forests. More and more he began to learn to make-do, depending on the support of a small but dedicated group of supporters. Sprinchorn was deeply affected by the death, in 1929, of his teacher, Robert Henri. At the same time, his mother became ill and Sprinchorn went to attend to her in Sweden. During this visit, he produced sensitive watercolors which portrayed, in an almost conventional manner, the soft pastel landscapes of his native country (cat. nos. *17 and *16). When he returned to New York in 1931, he faced the Depression. After several money­ making proposals fell through (including a brief stint as 13 i; ■ r i �10 22. Above Shin Brook Falls — Maine, 1940 Oil on board Collection of Robert F. and Patricia Ross Weis e S-'-t lie Forest, 1=23-21 02 on linen Collection ot Mr. ar.d Mrs. Arnold Rifkin on the infant who reaches toward the others Jrom the blanketed comfort of her sleigh/cradle/bed. The faces of the are caricatures, though not in the negative context c—itext • -* or - trie 1 jftened by the word, and the roughness of this world is sol of the guitar presence of music and literature in the form----- _ and the book of the two young men. Sprinchorn used a an artist for the WPA), Sprinchorn returned, in the late 1930s. to the healing sclidude of the Maine woods. Sprinchorn's later paintings of Maine are much less symbolic in nature than those produced in the early twenties. Perhaps as a result of his recent hardships, the realist imperative is re-introduced to these later paintings. Woodcutter's Evening — Maine, 1943 (cat. no. 28) is a masterpiece of genre painting from this later era. One of Sprinchorn's most ambitious figural compositions, this canvas shows a family of seven gathered in their small one-room cabin after the day's labor. Logs are neatly stacked by the stove over which the laundry has been hung to dr>’. A long, crude table is pushed to one side of the room and bunk beds line one wall. Economy and utility are everywhere present. Through the family unit, the ages of man are represented with attention focused surprisingly vivid palette, highlighting the dusk of evening with spots of blue, green, red, and yellow. e viewer feels welcomed to share the warm comfort o contented domesticity which is clearly the painting s subject. I wo crayon studies (cat. nos.. 26a 26a and and 27), 27), with wi the latter especially relating to Woodcutter's Evening - Maine, show the agility and strengl■th of Sprinchorn's talent as a draftsman. Similarly, Lumberjack (cat. no. 21), a gauche study from captures the men at work, their silhouetted bodies which he would later translate to canvas in his studio. In letters to a friend, he wrote of the frustratingly short duration of autumn during which time he worked in an outdoor lean-to which served as a studio. Working quickly to capture as much as he could of the all-tooephemeral colors of the season, he recalled the advancing chill of winter which would cause his watercolors to freeze before he could apply them to the paper. As noted, Sprinchorn could also "rearrange" nature in order to emphasize a symbolic point. Such is the case in The Spectator — Shin Pond, 1947 (cat. no. 37). When the painting was included in the Corcoran Gallery of Art Biennial in 1951, Sprinchorn wrote about the work. He explained that it represented two states of mind — the first, as demonstrated by the unbroken row of trees blocking the Spectator's line of vision, is closed-in and quickly mapped out with the strong, dark outlines of the crayon sketch later filled in with fauvist washes of color, At the same time that he was creating these realistinspired documents of Maine, Sprinchorn was also ---------1:----------------- : _1—.------ . :---------------- Cull ..I*.—.!.. creating semi-abstract images. Still clearly readas landscape, the tightly controlled abstracted rhythms of Above Shin Brook Falls — Maine, 1940 (cat. no. 22), mimic the turbulence of rushing water, while The Blizzard (Shin Pond, Maine), 1941 (cat. no. 25), is an expressionistic reverie to the force of an ice-blue winter storm. Although these works, and Sprinchorn's studies of lumberjacks, may at first seem to be uncomfortably diverse in style, they are united by the single goal of remaining faithful to the subject without being dominated by it. Sprinchorn's fidelity to the evocations of nature was due to the many elaborate sketches made on the spot 15 14 �. Checklist of the Exhibition NOTES confining — the second, represented by the panorami view is broad and focused outward.-’ The painting can be interpreted as a philosophical self-portrait ot the 1. Application Applkatic for Guggenheim fellowship (1941), Special Colle ‘ons Department, Folger Library, University of Maine at Orono (hereafter referred to as UMO). 2. Untitled Manuscript (1949). UMO. 3. Ibid. 4. Ibid. Arthur Cederquist was the young man from Minnesota. 5. Ibid. o. Henri's charismatic lecture style is reflected in his book The Art Spirit, compiled by Margery Ryerson (J. B. Lippincott Company, In the mid-fifties. Sprinchom suffered the first <of a series of strokes which were to eventually limit his artistic productivity. Showing his strength of will and determination in the face of physical disability. Sprinchom overcame the semi-paralysis which affected his painting and writing. Forced to move to a less strenuous climate and closer to family, he took up residence in a small house on the farm belonging to his sister and his niece in Selkirk, New York (near Albany). There he painted such light-filled, impressionistic canvases as Daisy Fields and Clouds, 1950 (cat. no. 44); and floral still iifes, a subject he loved all his life, such as Autumn Bouquet, c. 1957 (cat. no. 531, reminiscent of Van Gogh's similar passion for flowers. Each year Sprinchom would also record the small house on his sister's farm. House in Selkirk, NY, 1961 (cat. no. *57), a sketch made by cross-hatching brightly colored marks of the crayon, was the last of this series although Sprinchom did not die until 1971. Sprinchom followed with interest the events of the New York art -world even when he had expressed distaste for their shallowness and even when his health prevented him from making an occasional trip there. In 1961, he wrote to the American Federation of Arts to protest the ‘ mass dissemination of theoretic art forms appearing continuously in your 'Art in America Magazine' ' which he felt discouraged the artist of "individual persuasions."3’ An artist of sensitivity and intellect, his ideals concerning art never dimmed. In 1970 his friend and fellow artist, Rockwell Kent, wrote to him to say hew wonderful it was that Sprinchom had completely vindicated Robert Henri's staunch belief in him." Sprinchorn found his muse in the wooded landscapes of Maine. Ironically, it was this discovery that also led to his eclipse in the art market as he became increasingly unwilling to spend time on galleries and exhibitions. When the MacBeth Gallery closed its doors in 1953, Sprinchom considered other galleries but never followed through in finding one to represent him. Today, with current interest mounting in the work of Robert Henri, "The Eight," and their followers, this seems an auspicious moment to present an exhibition of the work of Carl Sprinchorn, who had the privilege to be singled out among those followers as an artist of creative genius whose contributions would someday leave a mark upon the development of American art. 7. op. cit. UMO. (Note 1.) 8. Ibid. 9. "The Lounger'' Column, Putnam's Monthly & The Reader, V (December 1908). 10. George S. Hellman, "The Drawings of Carl Sprinchorn," exhibition catalog 1916. 11. Excerpt for unknown exhibition catalog (1937) reprinted for a catalog by the Passedoit Gallery in 1954. 12. Letter from Ettie Stettheimer to Sprinchom in Santo Domingo, December 15, 1926. UMO. 13. Carl Sprinchorn, A Painter's Plaint, undated manuscript. UMO. 14. Undated letter from Carl Sprinchom to Florence Dreyfous. UMO. 15. Letter from Carl Sprinchom to Mr. Reginald Poland (then Director of the High Museum), July 19, 1955. UMO. 16. Introduction to an exhibition of paintings at the MacBeth Gallery in 1943. The other romanticist Hartley was referring to was Rex Slinkard, also a close friend of Sprinchom's. 17. Essay by Christian Brinton for an exhibition of Sprinchom's work at the Marie Sterner Gallery in 1922. 18. Letter to Hilton Kramer, 1958. UMO. 19. Ibid. 20. Hartley's letters to Sprinchom have since been deposited at Yale University. 21. Marsden Hartley, "The New Paintings of Carl Sprinchom of the Maine Woods," 1943. Hartley wrote this and two other manuscripts about Sprinchom's work. The others are: "Sprinchorn Today," 1942, America Swedish Historical Museum; and, "The Drawings of Carl Sprinchorn," from The Spangle of Existence, an unpublished manuscript. Museum of Modem Art (library). 22. op. cit. Brinton. 23. op. cit. manuscript of 1949. UMO. 24. Kenneth Burke, "The Art of Carl Sprinchorn," The Arts, December 1921. (Burke saw the paintings prior to their exhibition in the spring of 1922.) 25. Henry McBride writing for the New York Herald, February'12, 1922. Reprinted in an exhibition catalog for a one-man exhibi io the works by Sprinchorn at The Arts Club of Chicago, March . 26. Clipping file UMO. "Sprinchom Stirs the Heart: Trouble is He Stirs It In Too Many Directions," Worchester (Mass.) Daily Telegram, dated 1922 in the artist's handwriting. 27. Letter from Carl Sprinchorn to Ettie Stettheimer in December from Monson, Maine. UMO, 28. Undated letters to Josephine Hopper, UMO. 29. Letter from Carl Sprinchorn to Henry B. Caldwell, then assistant director of the Corcoran (March 27, 1931). 30. April 8, 1961, UMO, He also cancelled his subscription to News which he felt to be a handsome facade with no,c?^nnJ continued to take Arts because it took the controversial su 31. Postcard dated 9-25-70 from Rockwell Kent to Carl Sprinchor . UMO. i I 1. A Winter Scene on the East Side, New York, 1906 Oil on canvas, 30 x 40 Signed 1.1. Carl Sprinchorn Collection of Mr. and Mrs. Sigmund M. Hyman x9. Woodsman Greets the Rising Sun, 1920 Oil on canvas, 28% x 22y„ Signed 1.1. Carl Sprinch orn Collection of Miss Kathryn Freeman ’17. House in Sweden (Summer), 1931 Watercolor, 14 x 21 (sight) Signed l.r. Carl Sprinchorn Collection of Miss Kathryn Freeman 2. Robert Henri (1865-1929) Portrait of Carl Sprinchorn, 1910 Oil on canvas, 24 x 20 Gift of Anna Sprinchorn Johnson, 76.43 Herbert F. Johnson Museum of Art, Cornell University 10. The Blue Ice Forest, 1920-21 Oil on linen, 36 x 40 Signed 1.1. C. Sp. Collection of Mr. and Mrs. Arnold Rifkin 118. The Diver, c. 1934 Watercolor, 18 x 12 Signed l.r. Carl Sprinchorn Collection of Dr. and Mrs. Julian Long 11. Snow Winged Horses, 1921 Oil on canvas, 36 x 38 Signed 1.1. Carl Sprinchon■n The Phillips Collection Washington, D.C. 19. Central Park, 1935 Oil on board, 9 x 13 Signed 1.1. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 12. Boreal Pageant (Monson, Maine), 1921 Oil on canvas, 36 x 48 Signed l.r. Carl Sprinchorn Estate of Carl Sprinchorn 20. Sunflowers and Tritoma, 1935 Oil on composition board, 24 x 20 Signed 1.1. Carl Sprinchorn Gift of Miss Edith Wetmore Museum of Art, Rhode Island School of Design 3. Lilac Time — Versailles, 1914 Oil on board, 10 x 14 Signed 1.1 C. Sp. Collection of Dr. and Mrs. Julian Long 4. Woman in Evening Gown, c. 1916 Watercolor on paper, 16 x lO’/z Signed u.r. Carl Sprinchorn The Brooklyn Museum Gift of Miss Ettie Stettheimer 5. Three Figures, c. 1916 Watercolor on paper, 12»/16 x 14% Signed l.r. Carl Sprinchorn The Brooklyn Museum Gift of Miss Ettie Stettheimer 6. The Singer, c. 1916 Ink on paper, 10‘A x 16 Signed 1.1. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 7, Flowers, c. 1916 Watercolor on paper, 18% x 12% Signed 1.1. Carl Sprinchorn The Brooklyn Museum Gift of Alfred W. Jenkins *8. Flowers at Evening, 1919 Pastel, 2614 x Ih'/i (sight) Signed l.r. Carl Sprinchorn Collection of Miss Kathryn Freeman 13. Landscape With Horses, (The Fear Forest), 1921 Oil on canvas, 25 x 36 Signed 1.1. Carl Sprinchorn University Art Collection University of Maine at Orono ’14. Santo Domingo Landscape, 1926 Oil on canvas, 25 x 30 Signed 1.1. Carl Sprinchorn Collection of Miss Kathryn Freeman 15. Still Life with Fruit and Parrot, 1926 Oil on canvas, 29% x 25 Signed u.l. Carl Sprinchom Gift of the artist High Museum of Art, Atlanta, Georgia ’16. Red Barn — Snowy Vistas (Sweden), 1931 Watercolor, 14% x 20% (sight) Unsigned Collection of Miss Kathryn Freeman 17 16 21. Lumberjacks, 1937 Mixed media on brown paper, 9 x 12 (sight) Signed 1.1. Carl Sprinchorn Collection Ripley Art Works, Ripley, Ohio 22. Above Shin Brook Falls — Maine, 1940 Oil on board, 12 x 16 Signed 1.1. Sprinchorn Collection of Robert F. and Patricia Ross Weis 23. Before Edison — Shin Pond, Maine, 1940 Oil on board, 28 x 16 Signed on back University Art Collection University of Maine at Orono 24. Seascape, c. 1940 Watercolor, 14’4 x 21 Vi (sight) Signed l.r. Carl Sprinchorn Collection of Mr. Ben Pedigo h ! �I 25. The Blizzard tShit: Pond. Maine). 1941 Oil on canvas. 21 x 29 Signed 1.1. Carl Sprinchorn Private collection 26a. Lumberack Study for Woodcutters Evening >, 1941 Crayon drawing. 9% x 11% (sight' Signed 1J. Carl Sprinchorn Collection of -•-r. and Mrs. Arnold Rifkin t(b>. Verso Lumberjack. Study for Woodcutters Evening ’) Crayon drawing, S’. x 11% 'sight? Signed 1.1. Carl Sprinchorn 27. Young Lumberjack. (Study for Woodcutters Evening’), 1941 Crayon drawing, 6 x 12 Signed l.r. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 28. Woodcutters Evening — Maine, 1943 Oil on canvas, 21 x 32 Signed 1.1. Carl Sprinchorn Cc..ection. of Robert F. and Patricia Ross W’eis *29. Tiger Pitch, c. 1943 Oil on canvas, 271 x 33'A Signed 1.1. Carl Sprinchorn Collection of Miss Kathryn Freeman 30. Tangerines on Baugh — California, 1944 Oil on board, 8’/« x 12‘A Signed 1.1. C. Sp. Collection of Robert F. and Patricia Ross Weis 31. White Dahlias, 1944 Oil on canvas, 18 x 24 Signed l.r. Carl Sprinchorn Collection of Robert F, and Patricia Ross Weis *32.L«g«naBe«UI.SoHth 1945^ . 15'4. (sight) Oil on board, 11 ■'« XU . „ Signed l.r. C- Sp. Collection of Miss Kathryn Freeman *33. Autumn Glory. 1946 Oil on canvas, 20'4 x 2414 Signed 1.1. Carl Sprinchorn Collection of Miss Kathryn Freeman 34. Comer of Studio — Shin Pond, Maine. 1946 Oil on board, 16 x 193A Signed l.r. Sprinchorn Collection of Robert F. and Patricia Ross Weis 35. Red Hat. Blue Hat, 1946 Oil on board, 18% x 24% Signed l.r. Carl Sprinchorn University’ Art Collection University of Maine at Orono 36. Stormy October Sunset, c. 1946 Oil on board, 19 x 23'A (sight) Signed l.r. Carl Sprinchorn University’ Art Collection University of Maine at Orono 37. The Spectator — Shin Pond, Maine, 1947 Oil on canvas, 28'A x 34'A Signed 1.1. C. Sprinchorn University Art Collection University of Maine at Orono 38. Shin Pond Outlet — Maine 1948 Oil on board, 12 x 6 Signed 1.1. C. Sp. Collection of Robert F. and Patricia Ross Weis 39. Logs in Lumber Camp, 1948 Crayon on paper, 13% x 17% Signed l.r. C. Sp. Collection of Robert F. and 1 atricia Ross Weis 40. Snowy Branches, 1948 Crayon on paper, 16 v, : Signed l.r. Carl Sprinchix 13>/2 torn University Art Collilection University of Maine at Orono *41. Whetstone Falls — The Penobscot, 1949 Oil on canvas, 21%, x 32% Signed 1.1. Carl Sprinchorn Collection of Miss Kathryn Freeman 42. Apple Blossoms, 1949 Oil on canvas, 28 x 34 Signed l.r. Carl Sprinchorn Estate of Carl Sprinchorn 43. Open Water — Maine, 1949 Watercolor, 19 x 25'/z Signed 1.1. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 44. Daisy Fields and Clouds, 1950 Oil on canvas, 21% x 29% Signed l.r. Carl Sprinchorn Collection of Mr. and Mrs. Arnold Rifkin *49. Daisy Fields, Crommett Farm, c. 1950 Oil on canvas, 21% x 29 Signed l.r. Carl Sprinchorn Collection of Miss Kathryn Freeman 50. Apples on a Bam Floor, c 1950 Oil on canvas, 25 x 30 Unsigned Estate of Carl Sprinchorn 51. The River—Winter Stilled, 1951 Charcoal and Chinese White on French Grey Charcoal Paper Signed l.r. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 52. Crooked Tree — Shin Pond, Maine, 1951 Oil on board, 12 x 18 Signed 1.1. C. Sp. Collection of Robert F. and Patricia Ross Weis 53. Autumn Bouquet, c. 1957 Oil on board, 233A x 193A Signed 1.1. Carl Sprinchorn University Art Collection University of Maine at Orono t54. My Early Backyard — The Old House, Selkirk, 1958 Oil on canvas, 24 x 30 Unsigned Estate of Carl Sprinchorn (55. Landscape — Shin Pond, 1958 Pastel, 9'/z x 14'A Signed 1.1. Carl Sprinchorn Collection of Dr. and Mrs. Julian Long T56. Landscape — Shin Pond, 1958 Pastel 14'A x 9'/z Signed l.r. Carl Sprinchorn Collection of Dr. and Mrs. Julian Long 45. Landscape with Hawkweed, 1950 Oil on board, 20 x 24 Signed 1.1. Carl Sprinchorn University Art Collection University of Maine at Orono 46. Open Season on Birds — Shin Pond, Maine, 1950 Oil on canvas, 22 x 28 Signed 1.1. Carl Sprinchorn Collection of Robert F. and Patricia Ross Weis 1950 47. Evening Mists — Maine, Oil on board, 16 x 19% Signed l.r. Carl Sprinchorn Collection of Robert F. an Patricia Ross Weis 48. Landscape, c. 1950 Watercolor, ll’/z x Signed 1.1. Carl Sprinchorn Collection of Robert F. an Patricia Ross Weis 19 *57. House in Selkirk, NY, 1961 Crayon on paper, 13'A x 16'A (sight) Signed l.r. Carl Sprinchorn for Frederica Beinert, July '61 Collection of Miss Frederica Beinert *58. A Bouquet for Kate, 1957, (finished 1971) Oil on canvas, 30%b x 25% Signed l.r. C. Sp. Collection of Miss Kathryn Freeman All dimensions in inches, height precedes width. ‘Included in the exhibition at the Sordoni Art Gallery only. TNot illustrated. 1 ��4. Woman in Evening (7/:. n. C. 1916 Watercolor on paper The Brooklyn Mutjdi Gift of Miss Ettie StettK-irr.tr I ��L£. 6. T/ie Singer, c. 1916 Ink on paper Collection of Robert F. and Patricia Ross Weis 23 �■i i Flowers, c. 1916 Watercolor on paper The Brooklyn Museum Gift of Alfred W. Jenkins 24 �»4 1 *8. Flowers at r ;:r.< 191^ Paste! Collection of Mis- Kati-r,n Freeman ■ �I • I ■ I 2o ��Boreal Pageant (Monson. Maine t, ]Q21 Chi on canvas Estate of Carl Sprinchorn 11. Snow Winged Horses, 1921 Oil on canvas The Phillips Collection Washington, D.C. 28 ���... - 37. ['hr S;’t\ tiikn >7wi 7‘iwjJ Maine 1947 Oil on einvas University Art < o|U\ tion University oi Maine .it l'iono �14. rj,»r<inv--- iio.JN2t> Oil on canvas Collection of Mi.s Kathryn Freeman �14. Santo Domingo Landscape, 1926 Oil on canvas Collection of Miss Kathryn Freeman 33 �38. Shin Pond Outlet — Maine, 1948 Oil on board Collection of Robert F. and Patricia Ross Weis 42. Apple Blossoms 1949 Oil on canvas Estate ot Carl Sprincborn 34 �Blossoms, 1949 Oil on canvas Estate of Carl Sprinch ��MB *16. Red Bam — Snowy Vistas (Sweden), 1931 Watercolor Collection of Miss Kathryn Freeman 1 f F *17. House in Sweden (Summer), 1931 Watercolor Collection of Miss Kathryn Freeman �43. Open ’.'.a.'fT' — ALj 1949 Watercckr CoHectien •/:■ Reber? F and Paine:J ?’■. • > »Ye- 44 I I ktr J / h M • an‘i ( :'■ 4</. 19S(J Oil on canv.i. ( oilection c,f Mr and Mr- Arnuid Kiri.r. �• | 44. Daisy Fields and Clouds, 1950 Oil on canvas Collection of Mr. and Mrs. Arnold Rifkin �i N K fr(. .«JS ? ‘ <>n - ■ r ..-I .• : - '■' •>. hz-’r. ^^.,rr Muwwr of Art. IJoM of rjw*r ��42 ���Lumberjack, (Study for Woodcutters Evening"), 1941 Crayon drawing Collection of Mr. and Mrs. Arnold Rifkin 1 27. Young Lumbeqack. (Study for "Woodcutters Evening"), 1941 Crayon drawing Collection of Robert F. and Patricia Ross Weis �SO 29. . Pi:.-’c Oil er. canvas Collection cf NLss Kathryn Freeman Tangerines ,<n ~ California. 1944 Oil on hoard Collection of Robert F. and Patricia Ross Weis ��. 32 . - ■ . : - . - , Oi! or- heard C'. l.tc.. • ■’ M.’ Ka'hrv.^. F.-t«*rar A.,- lrr,,- jlJt€ Ct4i« tMlfK ,x k^..hry„ Frwtwr. I > �Autumn Glory, 1946 Oil on canvas Collection of Mi:s Kathryn Freeman �£ EL Shin Pond Maine. 1950 Oil on canvas Collection of Robert E and Paint ia Ross Weis ��i Ked Hut. Blur Hat, C 194b Od on board University Art Collechor. University of Maine al Orono �I |2- .y fix Blue Hat. c. 1946 03 a, beard feendy Art Collection taenity of Maine at Orono �52. board 54 �1 .. Ti>e Shin Pi,nd /-■ ,1951 / aboard . "'‘^olRr.bwtF, and •r'-« Pr..-, Wen. 55 J .____ �Logs in Lumber Camp. ]Q48 Crayon on paper Collection ot Robert F and Patricia Ross Weis 36. Stormy October Sunset, c. 1946 Oil on board University Art Collection University of Maine at Orono L5o �A* �I a> V 4 > / */y I 4 < A -I*-** 40 Snowy Blanche-;. 1948 Crayon on paper Umvmity Ari CollKtion Univmity ..f Mamr at Orono 58 ’41. Whetstone Fulls The Penobscot, 1949 Oil on canvas Collection ot Miss Kathryn Freeman ��- - *4<? Da;;> c. 1»5C O>l on «r » Coi M: (CM* �45. Landscape with Hawkweed Oil on board University Art Collection University of Maine at Orono *49. Daisy Fields. Cromniett Fa'1 c. 1950 OH on canvas Collection ot Miss Kathryn Freeman 50. Apple*. on a Bam Floor, c. 1950 Oil un canvas Estate of Carl Spnnchorn �Autumn Bouquet, c. 1957 Oil fin board University Art Collection University of Maine at Orono ���i i I ■■1 Ii ‘' I : c �; ' '.. . -- ~~g J- e /. ; ;■< ■-■. ■ ' • i > 3 "■ ■ / I—c-';. ’ : 17; ; ----- Ifc-WSlS I 35 '5-J -; -3^^; ?: 7 *_"■ 77 -■' - --' . „■-. /. :I •.: 7 "■ � https://omeka.wilkes.edu/omeka/files/original/e41ac08670090d0cd61b90f601be5659.pdf fa90328cb4ab0ff2e4f949bdc3371c67 PDF Text Text ����������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1983 November 13 Carl Sprinchorn: Realist Impulse and Romantic Vision Creator An entity primarily responsible for making the resource Carl Sprinchorn Bernard B. Perlman Judith O'Toole Date A point or period of time associated with an event in the lifecycle of the resource 1983 November 13 - December 30 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/7510b0aa3d6727f2ae18910476142fc5.pdf 7c6e6827e10d40dbe1ecf66c20a0aa4b PDF Text Text ___l �ry I :"rr -i f.ry i-l: tr- G*,€ F*El ; l3 t I j tl -\ :':, * [fl d':ff 'li ;&,,;*ffi#-g{BiijBil r @1 f t lf"f,a: .' if l- .;-' I 14 Ae::..1,4ii',* -iE#-{.rEr d*-F.r' $ :i ri r,i, rg-I I-IIlnr id d lf. i t4dlqi Etda d. f;=, f,! -fif t,-' fnf,',i, ;ni ntrr+4s4Yr . .fi,',t-di'frt![r-,ff ri'j ru ,Ji,r "'ryJ ':\eJ &fl,';Er,;-a? -.Er'-i l '"'l ?*i Cans Seurat (detail), 2007 iJ G_'.'{ l'-ri-J �of statistics. Each image portrays a specific quantity of something: two million plastic bottles (five minutes of bottle use); 106,000 aluminum cans (thirty seconds of can consumption) and so on. Finding meaning in these mass phenomena can be difficult because the phenomena themselves are invisible, spread across the earth in millions of separate places. There is no Mount Everest of waste we can make a pilgrimage to and behold the sobering aggregate of our discarded stuff, seeing and feeling it viscerally with our senses. Running the Numbers looks at contemporary American culture through the austere lens Instead, we are stuck with trying to comprehend the gravity of our mass phenomena through the anaesthetizing and emotionally barren language of statistics. Sociologists tell us that the human mind cannot meaningfully grasp numbers higher than a few thousand; yet every day we read of mass phenomena characterized by numbers in the millions, billions, even trillions. Compounding this challenge is our sense of insignificance as individuals in a world of 6.7 billion people. And if we fully open ourselves to the horrors of our times, we also risk becoming overwhelmed, panicked, or emotionally paralyzed. I beiieve it is worth connecting with these issues and allowing them to matter to us personally, despite the complex mixtures of fear, grief, and rage that this process can entail. Perhaps these uncomfortable feelings can become part of what connects ange! us, serving as fuel for courageous individual and collective action as citizens of a new kind of global community. This hope continues to motivate my work. This project visually examines these vast andbizarre measures of our society; in large intricately detailed prints assemble d from thousands of smaller photographs. Employing themes such as the near versus the far, and the one versus the many, I hope to raise some questions about the roles and responsibilities we each play as individuals in a collective that is increasingly enormous, incomprehensible, and over"whelming. -chris jordan, Seattle, 2008 �l{F I I Doroonl r\n \rarren- Wlkes Universiry =i;t:$'l#ii:;;;; Tel 570-408-4325 Fax570-408-7733 edu,/sordoniartgallery Gallery Hours: Noon 4:30 p.m., daily wilkes. Cans Seurat, 2007 Depicts 106,000 aluminum cans, the number used in the US every thirty seconds. Non-Profit Org. U.S. Postage PAID Permit No. 355 \4tlkes-Barre, PA � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2011 August 29 Running the Numbers: Portraits of Mass Consumption, Photographs by Chris Jordan Creator An entity primarily responsible for making the resource Chris Jordan Date A point or period of time associated with an event in the lifecycle of the resource 2011 August 29 - December 11 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource In Running the Numbers, artist Chris Jordan creates intricate photographic prints assembled from thousands of smaller photographs, visually depicting statistics that dramatize aspects of contemporary American culture. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Chris Jordan mass consumption photographer photography Source A related resource from which the described resource is derived Perlman Teaching Museum https://omeka.wilkes.edu/omeka/files/original/2e892c1f6920a5ce3c6cd3570bbef327.pdf 9993f23aca05b0836e51da87b45d5495 PDF Text Text ���������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2020 August 25 Drawn Abstraction Creator An entity primarily responsible for making the resource contributed text from lender Date A point or period of time associated with an event in the lifecycle of the resource 2020 August 25 - November 11 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The mid- to late-20th century in America was a time of boundary testing and social critique. Artists, too, challenged accepted techniques and subject matter while critically examining the role of art in society. The works in the exhibition capture the vibrancy of the emerging abstract movements during this time, including abstract expressionism, minimalism, op art, and pop art. Type The nature or genre of the resource Exhibition program Subject The topic of the resource drawing drawings abstraction Source A related resource from which the described resource is derived Kalamazoo Institute of Arts Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/bbba03302c0ca4ec64bd0894dbdf6963.pdf c4a1078905ee49ac7a074bf9c568b036 PDF Text Text SORD GA ND 1731 P4S6 1982 M ■< '<7■■ ■:. ... ■; ��IT ________ �DAVID ARMSTRONG PAINTINGS APRIL 21 - MAY 23, 1982 SORDONI ART GALLERY WILKES COLLEGE E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA �ARCHIVES Introduction Lester (The Handyman), watercolor and pencil, 12 x 19V2 inches David Armstrong paints almost daily, out-of-doors, in all seasons, usually on his farm in the rolling hills of Lycoming County, Pennsylvania. Through the clean naturalism of his style, he registers a self-effacing commitment to the landscape, and those who live in harmony with it. In an age of highly mechanized living and urbanized culture, he does not regard himself as a throwback to some long-departed era of rural self-sustenance. Instead, he seeks to reaffirm the values and beauties inherent in that life which are still vital, but which are too often neglected. His continuing series of portraits called "The Vanishing American Craftsmen," for example, pays homage to a breed of men and women which might soon pass into history, along with the clean air and water he portrays in his landscapes. These paintings attempt to preserve not so much the crafts themselves, but the craftsmanly attitudes they represent. No mean craftsman himself, Armstrong isolates the dignity and beauty of his craftsmen's labors in firmly structured watercolors. As a medium technically suited to the kind of on-the-spot painting he does, watercolor also yields the gentle surface and clear light which reinforce the freshness of his scenes, although Armstrong often works with a denser texture and larger scale than are usual in watercolor. Beyond their penetrating description of form, these paintings echo the tempo of life lived close to the land. Quiet of mood, precise in composition, they beckon us to enter a world which still holds much of value for modem man. The "Craf Davie will a his or last y Willia Throi at the begin wider many State: Bot preset been ; whicl his en Mr. 1 coope also v corner Marli Andrt assem �•I Introduction David Armstrong paints almost daily, out-of-doors, in all seasons, usually on his farm in the rolling hills of Lycoming County, Pennsylvania. Through the clean naturalism of his style, he registers a self-effacing commitment to the landscape, and those who live in harmony with it. In an age of highly mechanized living and urbanized culture, he does not regard himself as a throwback to some long-departed era of rural self-sustenance. Instead, he seeks to reaffirm the values and beauties inherent in that life which are still vital, but which are too often neglected. His continuing series of portraits called 'The Vanishing American Craftsmen," for example, pays homage to a breed of men and women which might soon pass into history, along with the clean air and water he portrays in his landscapes. These paintings attempt to preserve not so much the crafts themselves, but the craftsmanly attitudes they represent. No mean craftsman himself, Armstrong isolates the dignity and beauty of his craftsmen's labors in firmly structured watercolors. As a medium technically suited to the kind of on-the-spot painting he does, watercolor also yields the gentle surface and clear light which reinforce the freshness of his scenes, although Armstrong often works with a denser texture and larger scale than are usual in watercolor. Beyond their penetrating description of form, these paintings echo the tempo of life lived close to the land. Quiet of mood, precise in composition, they beckon us to enter a world which still holds much of value for modern man. „ The present exhibition, in which the Craftsmen series is featured, introduces David Armstrong to the Wyoming Valley. He will already be well-known to those who saw his one-man show at the Everhart Museum last year, or his large retrospective at the William Penn Museum in Harrisburg in 1978. Through a number of successful exhibitions at the Hammer Galleries in New York, beginning in 1976, he has already gained a wider reputation, and his works belong to many collections throughout the United States. Both new and older works are shown in the present exhibition, but special emphasis has been given to the "Craftsmen," a project to which the artist continues to devote much of his energy. We are particularly grateful to Mr. Harold H. Stream, III, for his generous cooperation in loaning the "Craftsmen." We also wish to thank the artist for his commentaries on the "Craftsmen" subjects, Marlin Wagner for his photographs, and Andrea Young for her assistance in assembling the show. W. H. Sterling Director Vanishing American Craftsmen by David Armstrong In many cases a "craftsman" is an "artist", for the artist, or the caftsman begins his work with a sense of what beauty is, and then strives to achieve that quality through excellence and sensitivity in his or her own work. The true artisan has the knowledge, appreciation and ability to stand back from the work and to judge or criticize or even admire the work according to his or her own high standards of excellence. Fine craftsmen have a characteristic that distinguishes them above the aspiring apprentice or "journeyman". There exists between the mind, which holds the idea or design, and the finished piece a harmonious line of loving communication. Through the hands, tools and materials are passed the spirit, the will, the intellect and personality, sensitivity, and the soul of the artisan into the work itself. And as long as there are men and women who strive to create beauty with their own hands, and a subsequent feeling of intelligent satisfaction and pride in a good job well done, then the spirit of fine craftsmanship will survive. 92-18*1: �DAVID ARMSTRt Country Doctor Today, as in the past, the practice of medicine is still "more of an art than a science", depending to a large degree on the knowledge, manual dexterity, and very often, the creative resourcefulness of the doctor himself. Some doctors still design their own instruments, which make them finer and more effective artisans in their specialized fields. In the very recent past doctors often made their own medicines for the patients as well. (There was no F.DA.) The doctor was often called upon to perform a multitude of diverse and difficult surgical operations which today are specialized fields of medical practice in themselves. When America's population was more decentralized and rural, a country doctor's practice covered a wide territory and he treated his patients in their homes as often as in his own office. This very special and vanishing breed of doctor had the pioneer qualities, skillful, creative ingenuity and dedicated human concern that literally shaped the medical world as we know it today. There were no x-ray machines or other mechanical devices available to him which help to prolong life today. In some places autopsies were illegal, so, in order to further his own knowledge and studies he had to surreptitiously purchase and autopsy his own cadavers. There is no question that today's field of medical treatment owes a great deal to the early medical pioneer practitioners, who remain a credit not only to their burdgeoning field but to the human race as well. It may be of interest to painting of the Country Doctor * a David. The doctor's office (now historically preserved) was once the actual office of David's great, great grandfather who practiced medicine in the then surrounding countryside of Washington, D.C. The Farmer Farming has long been considered the backbone of America. Certainly there is much heritage and even romance surrounding the self-employed pioneering man who produces a superior product by working with his hands harmoniously with the earth. However, the natural cycle of rebuilding and replenishing the soil with the organic manure of the energy-efficient horse has been replaced with the mechanical tractor which now grows our food with chemicals. The small family farms still comprise the "meat and potatoes" of American agriculture industry, and the farmer still feels a special pride and satisfaction from producing his products with the coordination of his hands, materials, and tools. But I'm sure the sentiment can be excused when I say that with the end of the horse, something very beautiful was lost from farming. Today the quality and excellence of the farmer's efforts are displayed and judged every summer at county fairs across America. It is certainly true that not every farmer is or was as artisan. But the farmer who cares lovingly and respectfully for the earth and who takes pride in the quality of his products is much more. Although quilting died out in Europe toward the end of the 16th century, it t00k on new inspiration as well as a new look in the American colonies. The practical idea of patching a quilt (repairing was more expedient than beginning from scratch) soon grew into the Patchwork and "crazy quilt" phenomenons. Although the art of quilting has been passed down from great grandmother, grandmother, mother to daughter, individual quilts have always reflected the character, vision, and various artistic abilities of their creator or creators. Through various harmonies of color and design as well as the quality and kind of each individual stitch, the artist literally sews into the quilt his or her expertise, artistic talents, and ideal of beauty. The quilting bee (several women collaborating on a quilt) is more common today than the individual artist going it alone. Yet, quilting remains, from initial design to final stitch, a recognized, highly creative and individual art form. In fact, the patchwork quilt has become a symbol of American folk art at its finest. Birth Date: January 29, Country Furniture Maker The art of furniture making tends to follow the well worn and traditional grooves of other creative forms of expression. The style, design, and character of the product is as diverse and numerous as the hands, minds, and materials which create it. The field of furniture making also varies from those who wish to initiate or modify styles and patterns of the past, to craftsmen who innovate new forms of furniture, thus giving a new dimension to our existing ideals of beauty and art. The fine furniture craftsman strives to create a piece that will not only provide its owner with comfort and durability, but also exist on a higher level as a visually pleasing, finely wrought, handcrafted object. The artist must consider the character and properties of the individual kinds of woods he uses in the inherent design of the piece. Wood grains and color can be aesthetically pleasing in themselves but it takes the loving and skillful hands of the craftsman to put it all together and to bring the piece of furniture to life. Automation has all but put the handcrafted furniture maker out of business. Most furniture makers today specialize in making one or two kinds of pieces of furniture, but most of them do it only as a hobby. It is becoming harder and harder to find a furniture maker whose vocation has been to devote his life and talents to providing for his neighbor's furniture needs while satisfying his own artistic ones. The diversified country furniture maker who still handcrafts a multitude of beautiful items, everything from an axe handle to a love seat, from a baby s cradle to a porch swing, is indeed a very vanishing American craftsman. EDUCATION: High School: College: Graduate: Taft S B.A. I M.F.A Indiar ONE-MAN EXHIBITED Sordoni Gallery, Wilke: Everhart Museum, Sera: Hammer Galleries, New Westmoreland County 1 Rockville Historical Sot Kenan Art Center, Loci William Penn Memoria Kern Museum, College Bucknell University, Le Lycoming College. Wil GROUP SHOWS: Poster Piece, American "The Way We See It," Galleries, N.Y., "Pennsylvania Artists 1 'The New American S "Americana" Exhibit, < "Artists Salute Skowht Audubon Artists, N.Y. 26th Annual New Eng Bald Eagle Art League Allied Artists, N.Y., I1 106th Annual Travelir Banfer Galleries, N.Y. TEACHING: ESEA Summer Progra Upward Bound Lewi: Indiana University. B. Muncy Correctional I Lewisburg Federal Pei Penn State Continuin, Career Day, Hughesv �DAVID ARMSTRONG The Quilter ed uch e :es a ds le B dth our •ms inner ;rom ition n i say g ,e 1 lerica. is ares nd sducts Although quilting died out in Europe toward the end of the 16th century, it took on new inspiration as well as a new look in the American colonies. The practical idea of patching a quilt (repairing was more expedient than beginning from scratch) soon grew into the Patchwork and "crazy quilt" phenomenons. Although the art of quilting has been passed down from great grandmother, grandmother, mother to daughter, individual quilts have always reflected the character, vision, and various artistic abilities of their creator or creators. Through various harmonies of color and design as well as the quality and kind of each individual stitch, the artist literally sews into the quilt his or her expertise, artistic talents, and ideal of beauty. The quilting bee (several women collaborating on a quilt) is more common today than the individual artist going it alone. Yet, quilting remains, from initial design to final stitch, a recognized, highly creative and individual art form. In fact, the patchwork quilt has become a symbol of American folk art at its finest. Birth Date: January 29, 1947 Country Furniture Maker The art of furniture making tends to follow the well worn and traditional grooves of other creative forms of expression. The style, design, and character of the product is as diverse and numerous as the hands, minds, and materials which create it. The field of furniture making also varies from those who wish to initiate or modify styles and patterns of the past, to craftsmen who innovate new forms of furniture, thus giving a new dimension to our existing ideals of beauty and art. The fine furniture craftsman strives to create a piece that will not only provide its owner with comfort and durability, but also exist on a higher level as a visually pleasing, finely wrought, handcrafted object. The artist must consider the character and properties of the individual kinds of woods he uses in the inherent design of the piece. Wood grains and color can be aesthetically pleasing in themselves but it takes the loving and skillful I hands of the craftsman to put it all together and to bring the piece of furniture to life. Automation has all but put the handcrafted furniture maker out of business. Most furniture makers today specialize in making one or two kinds of pieces of furniture, but most of them do it only as a hobby. It is becoming harder and harder to find a furniture maker whose vocation has been to devote his life and talents to providing for his neighbor's furniture needs while satisfying his own artistic ones. The diversified country furniture maker who still handcrafts a multitude of beautiful items, everything from an axe handle to a love seat, from a baby's cradle to a porch swing, is indeed a very vanishing American craftsman. EDUCATION: High School: College: Graduate: Taft School, Watertown, Conn., 1961-1965 B.A. Degree from Bucknell University, 1969 — President's Fine Art Prize M.F.A. degree in Painting, (Fellowship, teaching assistant) Indiana University, Bloomington, In., 1971 ONE-MAN EXHIBITIONS: Sordoni Pa,, April, 1982 ooraom Gallery, Wilkes-Barre, Pa., Everhart Museum, Scranton, Pa., June-July, 1981 Hammer Galleries, New York City, 1974, 1976, 1978 Westmoreland County Museum, Greensburg, Pa., Oct., 1980, Catalogue — 96 pieces Rockville Historical Society, Rockville, Md., Sept., 1980 Kenan Art Center, Lockport, N.Y., 1979 William Penn Memorial Museum, Harrisburg, Pa., April, 1978, Catalogue — 150 pieces Kern Museum, College Park, Pa., 1979 Bucknell University, Lewisburg, Pa., 1977 Lycoming College, Williamsport, Pa., 1973 GROUP SHOWS: Poster Piece, American Wind Symphony 25th Anniversary Traveling Exhibit and Concert, Pittsburgh, 1981 "The Way We See It," Two-Man show of watercolors and photographs with John Denver, at Hammer Galleries, N.Y., Dec.-Jan. 1980, color catalogue — poster "Pennsylvania Artists Paint Pennsylvania," Central Pa. Arts Assn., July, 1980 "The New American Still Life," Westmoreland County Museum, June, 1979 "Americana" Exhibit, Greenwich Workshop Galleries, Conn., 1978 "Artists Salute Skowhegan," Kennedy Galleries, N.Y., 1977 Audubon Artists, N.Y., 1976 26th Annual New England Exhibition, Silvermine Guild. Conn., 1975, Prize Bald Eagle Art League, Second Annual, 1979, Prize Allied Artists, N.Y., 1975 106th Annual Traveling Exhibition, American Watercolor Society, N.Y., 1973 Banfer Galleries, N.Y., 1972 TEACHING: ESEA Summer Programs, Lewisburg, Pa., 1966-1968 Upward Bound, Lewisburg, Pa., 1965 Indiana University, Bloomington, Indiana, Teaching fellowship in drawing and design 1969-1970 Muncy Correctional Institution, Muncy, Pa., 1972 Lewisburg Federal Penitentiary, Lewisburg, Pa„ 1974 Penn State Continuing Education, Williamsport, Pa., 1974-1975 Career Day, Hughesville High School, 1979, 80, 81 �The Quilter, watercolor. 22 x 29 inches �1 1 1 �Farrier, watercolor, 2V/2 x 29 inches ��Stained Glass Maker, watercolor, 25 x 39 inches Blacksmith, watercolor �3? Stained Glass Maker, watercolor, 25 x 39 inches �il I g I Stonewallers, watercolor, 13 29 inches �r - -- - �______ _ 7 - .v ■ - _____ _ ........ . __________ — �■ <• ??<• � https://omeka.wilkes.edu/omeka/files/original/1841e6cfaa70ef7c7fe4981193dda173.pdf a647c953c56d3409dfb34196d184e25d PDF Text Text ���������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1982 April 21 David Armstrong Paintings Creator An entity primarily responsible for making the resource David Armstrong David Armstrong Date A point or period of time associated with an event in the lifecycle of the resource 1982 April 21 - May 23 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program